The Fascinating Hobby of Vinyl Record Collecting by Robert Benson

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

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www.collectingvinylrecords.com

By Robert G. Benson

A Record Collector‟s Guide to Their Passion

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

About the Author:

Robert Benson has been collecting records for more than 30 years and has more than 10,000 vinyl records in his collection, ranging from early rock and roll, through the present. As an avid collector, Robert has learned many “tricks of the trade,” which he shares with you in his insightful look into this wonderful hobby and why vinyl records have remained so popular.

Robert wrote this ebook to share his passion with others and includes multiple interviews with record collectors and record dealers, an in- depth look at album cover art and its history, grading vinyl, buying/selling issues and much more.

Robert operates (www.collectingvinylrecords.com) and also operates several others, but his time and efforts are geared toward his vinyl sites. Robert writes many articles about records and has recently been included in Jerry Osborne‟s 2008 „Rockin‟ Records‟ record price guide. He also is a moderator in Jerry‟s forum (http://www.jerryosborne.com/cgi-bin/Forum/YaBB.pl in charge of “This Date In Music History”) and has been published on sites such as www.vinylgallery.org www.recordcollectorsguild.org, www.gemm.com, www.associatedcontent.com, www.isnare.com www.musicstack.com, www.rockitradio.net and many more-to numerous to list.

Robert grew up listening to rock and roll and Aroadied@ for many bands in his youth, where he acquired such a keen interest in music and the players of music. Come follow Robert as we explore the fascinating world of vinyl record collecting.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Visit Robert’s Informative Websites:

www.collectingvinylrecords.com learn about the hobby of collecting records, current trends, engaging articles, pop/rock quiz, album cover art, valuable records & more! www.vinylrecordappraisals.com What are your vinyl records worth? Affordable vinyl record appraisal services available. www.buyvinylrecords.net One of the Internets largest online vinyl record directories- search for rare and collectible records from vinyl retailers from around the globe! http://collectingvinylrecords.blogspot.com the latest news in the vinyl record world, album cover art features, interviews, top sellers, videos, this date in music history, interesting links and much more!

All comments and feedback are welcome, email Robert at [email protected] (all emails will be answered) I have checked all the links as of the end of November 2008 and they are all operational. Because things change, please report any broken links to my email and I will fix them immediately!

I have been selling the ebook for $5.99 and trust that if you like the product, you will make a donation of at least $5.99. So I have decided to make this ebook available as a free download, but will accept donations via the PayPal link on the website. Please check the website and make a donation so I can continue to make my website and ebook available to everyone!

Additionally, you see this URL featured http://tinyurl.com/6ou5fm in the ebook. What I have done is ‘shrink’ some long URL’s, still takes you to the same page, but without a URL like this: http://store.eSellerate.net/a.asp?c=1_SKU12470272665_AFL4578905286&at_AFYN27469-dsut%$#

What ‘tiny’ URL does is shrink a URL with, let’s say 70 characters, and makes it a more manageable 20- 25 characters.

The author of this ebook has used his best efforts in preparing this ebook. The author makes no representation or warranties with respect to the accuracy, applicability, fitness, or completeness of the contents of this ebook. The information contained in this ebook is strictly for educational purposes. Therefore, if you wish to apply ideas contained in this ebook, you are taking full responsibility for your actions. Unauthorized duplication or distribution of this material in any form is strictly prohibited. Violators will be prosecuted to the fullest extent of the law.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Contents

Introduction…………………………………………………………………. 5 What is collecting?...... 6 Why people collect records………………………………………… 9 The digitization of music……………………………………………… 14 Vinyl vs. CD…………………………………………………………………. 18 Records, Album Cover Art, History….……………….………… 20 Preservation of vinyl……………………………………………………. 43 Vinyl Art………………………………………………………………………… 46 Converting vinyl to CD………………………………………………… 50 Kinds of records………………………………………………………….. 53 Types of music…………………………………………………………….. 80 Grading your vinyl……………………………………………………….. 83 Record guides………………………………………………………………. 89 Jerry Osborne…………………………………………………………………91 Cleaning your records………………………………………………….. 93 Storing your records…………………………………………………….. 96 Where to find vinyl records…………………………………………. 98 Vinyl is back………………………………………………………………… 108 Common abbreviations…………………………………………………116 Selling record albums ………………….………………………………117 Appraising vinyl records………………………………………………120 How to determine record values………………………………….128 Collectibles Insurance………………………………………………....135 Conclusion…………………………………………………………………….139 Links and resources………………………………………………………140 Sponsors……………………………………………………………………….143

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Introduction

We are an eclectic bunch. Sometimes we are called “audiophiles” or “geeks.” We are ministers, housewives, politicians, lawyers, doctors, and the guy next door. We are photographers, clerks, senior citizens, factory workers, Aold hippies@, baby boomers, waitresses and rock musicians (Peter Buck- R.E.M., Pat Dinizio-Smithreens, Steve Turner-Mudhoney, Peter Wolf-J.Geils Band, Thurston Moore-Sonic Youth, to name a few). We are an avid bunch.....we are vinyl record collectors.

We scour the countryside in search of that one special record that will somehow make our collection complete. But, alas, once we find it, we realize that our collection will never be complete. So off again we go to the garage sales, the church bazaars, flea markets, record shows, online auctions, or the yard sales in small towns in search of additions to our prized vinyl record collection.

We spend hours cataloging, cleaning, sorting, and taking meticulous care of our records. But, for the most part, the prize is in the grooves of the record, the music we hold so dear-for that is a return on our investment that there is no price for.

With this being said, let us explore some the aspects of vinyl record collecting and why people are so committed to this fascinating hobby.

Note: This ebook is best read at your computer, online (although you can print it if you choose to do so) because I utilize numerous “live links” throughout the ebook that either add information or clarify a specific point that I am addressing.

Additionally, I am from the United States and although most of the essential elements of vinyl record collecting remain the same, there will certainly be different music genres that I don‟t address different places to locate records and price variations in the value of certain records. I use record price guides (and highly recommend Jerry Osborne‟s “Rockin‟ Records” price guide because of the accuracy of the content) that are printed in the U.S. and there may be additional price guides available in the country you reside in. Please take these elements into consideration as you enjoy the ebook.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

What Is Collecting?

People collect, amass, store and hoard just about anything. Some are put up for display (like fine art), yet, others remain in attics and basement, sealed away forever. People collect just about anything including: marbles, coins, political memorabilia, cookie jars, autographs, sports memorabilia, jewelry, Pez dispensers, snow globes, stamps, vinyl records, sports cards, comic books, toys, ceramics, jewelry…. why the list is endless.

People have always collected something either as a hobby or an investment. In fact, one of the first American numismatists began collecting coins in 1817 and it was a collection of American cents from each year. But, coin collecting has a history going back to ancient times when the ancient Romans were interested in and collected Greek and Roman coins.

There have been many famous people who have collected one thing or another. It is reported that a certain U.S. attorney has amassed a collection of more than 200,000 railroad nails and a Russian countess collected bedpans that had previously belonged to rich and famous people. King Louis XIV of France thoroughly enjoyed his daily visit to the French Royal Coin Collection, noting that he could „always find something new to learn.‟ In addition, actor Buddy Ebsen, who portrayed the loveable hillbilly Jed Clampett, was fond of collecting ancient coins. The flamboyant rock star Freddie Mercury, of the band Queen, was an avid stamp collector as a boy. Many famous musicians have huge vinyl record collections, including Peter Buck (R.E.M.), Peter Wolf (of the J. Geils Band), and Thurston Moore (Sonic Youth), just to name a few.

Many collecting hobbies have “sub genres.” For instance, collecting vinyl records can be divided into any number of specific categories. One could collect specific genres of music (Big Band, Jazz, Classical, etc.) or be partial to a particular record label such as Capitol, Reprise, RCA, Columbia and many others. 6

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Some may also collect 45‟s, record sleeves, colored vinyl records, picture discs….well, you get the idea. It is well known that famed pop artist Robert Crumb (who designed the famous album cover for Janis Joplin‟s “Cheap Thrills” LP) was keen on collecting 78 rpm records and had amassed quite a collection.

Maybe you know someone who collects Pez dispensers. They may have famous celebrities, cartoon characters, specific colored ones, and different years of release and so on. Comic book collectors could also collect a specific type of comic, like super heroes, Archie comics, adult comics, Disney comics, or even black and white comics from years gone by.

But, exactly why do people collect? They could gain a measure of satisfaction and pleasure from simply displaying the objects they collect. Sometimes, it is the nostalgia bug that compels people to collect items from a specific era. It could be an item that is associated with their childhood, a famous person, or a world famous event. Some collect because of the intrinsic value of an item, and the fact that the item may be desirable to others and can command a profit if they sold it. An item could also have a specific provenance that could compel interest.

Now, is collecting an obsession or some form of “pack rat fever?” The Webster‟s dictionary defines the word collect to mean “to gather (stamps, books etc.) for a hobby.” A collectible is something “that can be collected, suitable for collections; as by a hobbyist-any class of old things, but, not antiques, that people collect as a hobby.” It further states that a collector is “a person who collects stamps, books, etc. as a hobby.” Products are also manufactured with “collectibility” in mind, such as “limited edition” items like vinyl records, coins, art prints, or even cookie jars.

Moreover, the collectible‟s market has expanded in recent years and fueled by annual price guides, books on the subject, television shows, collectible conventions and Internet auction

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com sites; the collectible‟s market is now a global phenomenon. There are also professionals who specialize in a certain market and they share their expertise and help to even value these collectibles. There is a science of sorts in how people “grade” certain collectibles (i.e., mint, excellent, fair etc.) and most of the time condition is paramount. All these elements drive the market and help create a desirability factor for specific products and items.

But, the one element missing from the dictionary definition of “collecting” is the drive and passion that people may have for whatever they collect. So let‟s go a few steps further with our definition of “collecting.” Let‟s define it as: The art of acquiring items or products that you are specifically passionate about and want to retain, either for monetary gain or personal satisfaction. Let‟s explore this definition in detail.

Is there an art to collecting? There certainly is. One must know where to find exactly what it is that they are seeking. Let‟s assume you collect vinyl records. Is it best to place an advertisement in a trade publication, local or national newspaper, shop online, or pursue the rummage/garage sale methods? What about going to the “record conventions” that are held in major cities all over the country? Is that the best avenue to pursue? There is an art (some call it a science) to knowing where the best place is to find whatever collectible that you may be looking for.

Furthermore, in the dictionary definitions of collecting, a key term is missing, passion. There is a direct correlation to the drive and motivation a person feels and how successful they may be in acquiring their collectibles. This is a very important element, the enthusiasm a person has, the passion, is what makes whatever they may be collecting, an enjoyable experience. And, obviously the more they put into collecting, the more that they will get in return, not only in monetary terms, but, simply put, the more fun they will have pursuing their hobby.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Why People Collect Records

In 1982, the CD, a digital music playback format that used a laser to read the disc, was introduced and was expected to replace the long play record album (LP). CD sales quickly took off and vinyl record sales fell and the record companies tried to “phase out” the vinyl record album. But, as they soon found out, musicians and music lovers alike would not allow that to happen. In fact, vinyl records are enjoying a resurgence in popularity (millions are sold every year), partially fueled by nostalgic baby boomers attracted to a piece of their past and fueled by a new generation who have found the ambience and sound of vinyl to their liking. Many of these people collecting the record albums now were originally record album buyers, but converted to CD‟s out of convenience, to keep up with the times or maybe even to be trendy. But there are many questions we must ask as to why people go to great lengths to acquire these long lost treasures.

Could it be the picture sleeves themselves, some worth more than the record that they hold? Could it be (as research suggests as the reason people play records), the physical interaction required to actually play the record album, the cleaning of the disc, the act of putting the stylus on the grooves and the fact that you can see the music as it plays? Could young people be buying records now to be cool and hip the way their parents were, lining up at stores to get the latest releases?

Is it an addiction or an overwhelming obsessive-compulsive disorder that compels one to collect vinyl records? Or is it the love for the music, the kind of music that sends goose pimples down your spine or brings back a particular time in your life? Could it be the thrill of the hunt, searching the record shows, basement sales, dusty attics, or flea markets in search of that final piece to a perfect collection? Maybe it is the physical act of owning the record, a tangible piece of musical history. Or do people collect record albums as an investment, knowing that with the passage of time, these valuable vinyl treasures, if resold, may bring a handsome return on their original investment?

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Furthermore, people collect vinyl because they may want a piece of their past, so nostalgia is also an important element for the record collector. People are also drawn to actually owning a physical product and may enjoy the ritual that is involved in listening to the records. And a new generation has discovered the special allure that vinyl records have, the limited editions, colored vinyl, picture discs, “audiophile” records (including 180- 220 gram), the album cover art work, and the sound have all lured youngsters in the hobby of collecting vinyl records.

But, there are more reasons people collect vinyl. Besides the aforementioned elements, it is also big business. The old vinyl records on the auction sites, as well as the hundreds of other vinyl related web sites, are not selling their collectible vinyl for rummage sale prices. In fact, at any given moment, there may be more than six thousand collectible Beatles‟ albums for sale on eBay. Some have sold for thousands of dollars and it is reported that the album that is bought and sold the most in vinyl format is the Beatles‟ “White Album.” But it is not only the Beatles that sell well and are highly collectible. Artists such as the Rolling Stones, Bob Dylan, James Brown, Madonna, Pink Floyd, Led Zeppelin, Elvis Presley and even newer artists like Nirvana, Radiohead and many more are all highly sought after. There is also a keen interest in “Northern Soul,” Motown records, old blues recordings as well as jazz, punk and indie vinyl records.

Additionally, there are many recording artists who are reported to own vast and eclectic record collections. Just as creating music is their passion, finding rare and collectible vinyl is sometimes just as important. It is reported that John Lennon was an avid collector of all the Beatles‟ bootlegs he could find. Peter Buck, of the rock band R.E.M. is an avid collector as well and there is a long list of musicians who get the same thrill as all collectors get when they find a specific vinyl record at an estate sale that may have eluded them for years.

All of these questions and data provide some valuable insight into

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com why so many people collect vinyl records. But as research suggests, it goes a bit deeper than that. In fact, in his thesis called Making Music Meaningful: Youth Investment in Popular Music, David Hayes, a PhD candidate at the Ontario Institute for Studies in Education of the University of Toronto, explains this phenomenon.

“The teens are drawn in by the allure of vinyl; to them it seems to be a more sincere form of sound reproduction. They enjoy the thrill of finding an obscure or old vinyl record. It could also be a form of resistance against the RIAA and illegal file sharing. The teens I interviewed also insisted that the sound quality of vinyl is superior to that of the modern digital formats and a more authentic format.” http://www.news.utoronto.ca/bin6/060420-2216.asp

I had the distinct pleasure of speaking with a nineteen-year old vinyl lover from Campbell River, British Columbia, Canada named Steve Robertson; who was gracious enough to share his thoughts and views about this old, yet treasured format. What follows is a short discussion with Steve as he shared his passion and love for vinyl records.

I asked Steve what drew him to vinyl, why does he prefer this audio format?

“Vinyl just sounds so much better; it has a unique sound that can‟t be duplicated. There is a feeling of satisfaction when actually holding a physical product. And the cover art, not only from the past, but from new artists, is another reason I prefer vinyl records over any other format. I also get a sense of satisfaction in knowing that when I buy an artist‟s work on vinyl, that I am supporting the musicians who release it, it just isn‟t another free download,” explained Steve.

I asked Steve how long he has listened to vinyl and about what format his friends prefer.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

“I have been into vinyl for several years now and vinyl is huge in British Columbia and most of my friends prefer it as well. We both like the clear sound and experience you get when playing a record,” said Steve.

“I really think that vinyl is coming back, it sure is in our area. If my friends and I had to pick, records would be our choice and the best option to hear our music. But, they are harder to acquire, our nearest vinyl shop is an hour and a half away, so we buy most of our vinyl online.”

It was certainly refreshing to listen to Steve speak about his love for vinyl records. His enthusiasm for the format was clearly evident and especially welcome to me, a vinyl purist. And we both agreed that whatever musical genre it is that you enjoy, it certainly sounds the best emanating from a vinyl record.

However, there is another reason people collect vinyl records, it is because it is one of the most pleasurable and gratifying hobbies one could indulge in. (I am a bit biased) But, if you ask any collector and the answer they will give you is that records just sound better. Vinyl is the closest reproduction to the sound the artist was playing at the time the music was created- it is that simple. In fact, some artists insist on releasing their music in record album form because they do not like the artificial sound of the CD.

There are many analogies that I have heard throughout my years as a collector as to why people prefer vinyl records. I have heard, “Vinyl records just sound warmer,” or “I love the experience of playing a record.” But think of it this way. A vinyl record is like a fingerprinted reproduction of the music. The sound is actually etched into the grooves of the vinyl record, whereas with digital sound the music is compressed into 1' and 0's, or what I refer to as “binary sound.”

I recently had the pleasure of speaking with a fellow record collector about this phenomenon. Jay Self, of Hudson, Illinois,

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com has loved vinyl records as long as he can remember. He shared some of his insights with me and had graciously agreed to share them with you in my ebook.

Jay, who shares the same birthday as Elvis, has been interested in vinyl records since he was three years old. At that early age his mother said that the family would ask him to pick out certain 45's for the household and a “vinyl junkie” was born. His real collecting days started when he was nine or ten and started buying his own records. His first LP was “Herman‟s Hermits On Tour,” a record which is still in his collection today.

I asked Jay about his interest in vinyl:

“There has always been a special affinity for vinyl, the way it sounds (first and foremost), the way it feels, even the smell of the cover and the record and the thrill of putting that brand new album on the turntable (for years I just called it a record player) and carefully setting the needle in the grooves to hear that rich sound pour from the speakers.”

“I agree that CD‟s are convenient, portable and have great clarity, but an album just has a warmth and a depth to it that CD‟s just can‟t produce.”

We talked about the analogies people use to describe an album‟s sound and he shared with me something that stood out in his mind about an article he saw about a gentleman who owned a record store in Wisconsin who explained it this way:

“He said that a CD was like walking into a room with a high-watt, bare light bulb illuminating every nook and cranny in the room. An lp was like walking into the same room, but with soft indirect lighting that bathed you in the warmth of its glow.”

As we spoke, I could see we had a lot in common, we both love our vinyl, it is more than a hobby, it is a passion; and it is all about the music.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

The Digitization Of Music

But now the revered CD is taking in on the chin, so to speak. As more and more independent record stores are closing their doors across the country, it is because the sales of CD‟s have plummeted, not because vinyl sales have gone down. On the contrary, it is the sale of vinyl and the resurgence of the record album that is keeping some of these independent stores open.

To this writer, this is a sad day, for the local independent record store was much more than a store to buy the latest vinyl release. It was a friendly gathering of record enthusiasts who would share their thoughts about a particular band that you may not have heard of; give each other tips about collecting, cleaning, or the latest sound systems available at the time. It was, and still is in some parts of the country, a place where audiophiles can reflect upon the days when album rock ruled the airwaves of FM radio. It was a place to argue and discuss the best and worst albums musically, lyrically and which one had the best album cover. The independent record shop merchant was a friend, a confidant, someone you could trust and hang out with.

However, I find irony in the fact that the same technology that was supposed to “do in” the vinyl record, the CD, now has its own technology battle to contend with-the dreaded download. Ask any record industry executive about their CD sales and they will point to a downward spiral. The Recording Industry Association of America (RIAA) has made music downloading and file sharing one of their top priorities in the past few years, filing lawsuit after lawsuit; going after free online sites that it labels as “pirates.” They contend that the free downloading and file sharing seriously harm CD sales, record labels and the recording artist.

In fact, CD sales have plummeted (ask Tower Records). Could it be that the physical part of music is being phased out? And, although CDs have a wider dynamic range, mastering houses are encouraged to compress the audio on CDs to make it as loud as

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com possible, hence the term “loudness wars.” Since the audio on vinyl can't be compressed to such extremes, records generally offer a more nuanced sound. For more information, check out this explanation: http://en.wikipedia.org/wiki/Loudness_war

It is a strange music world we live in. There has been and is a major upheaval in the way consumers discover, purchase, and listen to music. People are listening to music on their cell phones and fitting their music collections in their pockets with portable iPods and MP3 players. CDs have slowly lost their appeal to MP3s. Digitization, it seems, is the new distribution process for most with file sharing, ring tones, YouTube, iTunes, MySpace, Satellite radio and downloading is the only option for some. In fact, digital tracks broke the one billion mark and digital album sales reached an all-time high with more than 65 million sales in 2008, up from 50 million in 2007; an increase of 32% over the previous year.

However vinyl records are making a „comeback‟ (although I submit that they never went anywhere) and in 2008 more vinyl albums were purchased (1.88 million) than any other year since Neilsen Soundscan began tracking vinyl sales in 1991. They also report that more than two of every three vinyl albums were purchased at independent record stores. The top selling vinyl records for 2008 were Radiohead‟s “In Rainbows” (26,000 units), the Beatles‟ “Abbey Road” (16,500), and Guns „N Roses‟ “Chinese Democracy at 13,600 units.

Now, although this isn‟t something I particularly enjoy (I have never downloaded a song off of the Internet), there is something to be said for all of this. Artists have a unique opportunity to get their music heard by the masses and to me that is good for music in general. If you are interested in keeping up with the digital world, I have found some nice sites to visit for more information: http://en.wikipedia.org/wiki/Audio_data_compression

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

http://www.tinyurl.com/y7ha6b

But, as record collectors, we look at all of this and we can‟t help but feel sorry for all the “down-loaders” because we know what they are missing.

That is because we just don‟t want to hear a record, we want to experience the record, touch it, watch it play, feel the artists‟ expressions and the work they put into making it. We want to hunt through dusty bins in the attics of people we do not know and even if we do not find a record for our collection, we are still satisfied, knowing that for that moment in time, we knew what interested someone else, what moved them, and maybe we even made a friend. We want to look at the glorious artwork that went into each and every album jacket. We want to experience the concept, the color, the liner notes, and a tangible piece of history. You can‟t do that with a download or a CD (I guess you could have some good artwork with a CD cover, but you would need a magnifying glass to get the full effect).

We won‟t download a song because it is popular. But we might buy a record because it may have not been popular, and we might not even like it. However in doing so, it will give us a better understanding of the records that we have in our collection that we do enjoy and like. We will always have records in our collection that we may never have listened to; we may have purchased them to preserve them. If you download music, this is a concept you could never understand.

The vinyl record is a survivor. Think about it. Reel to reel tapes, 8 track tapes, cassette tapes, CD‟s, iPods, digital downloads have all lead an assault to put the pressing plants out of business. But the vinyl record has persevered. Why? Because of DJ‟s, who kept spinning records and playing them in the clubs, artists‟ who insisted on releasing their music on vinyl and the public, from

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com collectors (audiophiles), to local bands who “cut records “ on small labels, the record companies-who will not be driven out of business, to anyone who insists on buying a vinyl record because of the sound quality and to the purists, who want to preserve not only the vinyl records, but the record jackets and sleeves, themselves a slice of Americana and a piece of who we are as a culture.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Vinyl vs. CD

As a lover of vinyl, no one will convince me that there is anything that sounds better. Vinyl was custom made for the human ear. I live for the sound, I love the ambience a record album exudes, the jacket, the art, and yes, even the hisses, crackles, and pops; to me, are all a part of the music. Even the hum or drone of an old amplifier, this is how the music was created, so yes, it will sound this way. But, CD‟s do offer the option of portability (you can‟t play vinyl in your car), so they do offer something. And then there is the sound „compression‟ that you get with „digitized‟ music, or what I call “binary sound” and I submit that it makes the music different.

The subject of vinyl vs. CD will be debated long after you and I are gone. But, I have an open mind and that being said, invite you to explore some very compelling arguments and comments for both sides, analog and digital. You can find them here:

http://tinyurl.com/5l578o

And, although this is a rather old post, the elements and opinions are no different than they are today. Read it, debate it, and enjoy it, as it is entertaining and informative. But you‟ll never take the vinyl lover out of me.

Each person has their own opinion and I am sure that some could argue that music isn‟t supposed to be heard with a „snap, „crackle,‟ and „pop‟ that one can get when playing a thirty or forty year old vinyl record. To the digital purists, who insist that audiophiles are nothing more than a bunch of geeks who should find something else to occupy their time, I ask them to look at these sites and articles that support the vinyl record. They can certainly explain why vinyl records are far superior to their digital recordings much better than I can:

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

http://en.wikipedia.org/wiki/Analog_sound_vs._digital_sound http://electronics.howstuffworks.com/question487.htm http://www.cdmasteringservices.com/dynamicrange.htm http://tinyurl.com/5uphj6 http://www.youtube.com/watch?v=b0arCgsAjpA

There are also many, many discussions in forums all across our land, and if you want to start an argument, go into an audio forum and start one by proclaiming your love for either format. You will certainly get some responses from sides, some explaining the virtues of digital music, and some touting the analog sound of vinyl. It is an interesting way to spend an afternoon.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Records and Art

I want to include a very important section to this book and a reason many people collect vinyl records. It is to collect the art from the album cover itself. I have found many web sites devoted to this subject and have included some of them here for you to look at: http://www.albumcovers.net/fr_frameset.asp Has some large images of album covers, but I was a bit disappointed when I entered Neil Young into their search and it came up empty, none the less, there are some good images of album covers to be found. http://annexus.homestead.com/home.html Very interesting look at the psychedelic era of album cover rock, they even include one of my favorite psych bands: Ultimate Spinach! A great site to explore psychedelic music and album cover art from the sixties. http://www.sarockdigest.com/albumcovers/index.html Obscure-yes, relevant, you bet, as you enter the world of South Africa‟s top 50 album covers, very interesting artwork and photography. http://www.xs4all.nl/~ronaldk/index2.html A very comprehensive website devoted to album covers done by cartoonists, very informative, interesting and certainly there are some bands and artists you have never heard of; but the artwork is superb. http://www.superseventies.com/greatestalbumcovers.html One of my favorite sites, the first 25 album covers list details into

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com the concept of the cover and design, a wonderful site, definitely worth a look. http://www.zubeworld.com/crumbmuseum/album.html If you are a Janis Joplin fan, you will love the in depth look at Robert Crumb‟s “Cheap Thrills” album cover. http://franklarosa.com/vinyl/ Record collector Frank LaRosa reviews the world's most ridiculous and regrettable record albums. Visitors can post comments.

A great site to look at banned and controversial cover art can be found here: http://tinyurl.com/9zts9

On the following web site is a list of albums with controversial album covers which were banned and/or censored: http://tinyurl.com/yxzhgw

And even more silly and inane album cover art: http://www.coverbrowser.com/covers/worst-album-covers

Not everybody buys a record album strictly for the record and we know that the album jacket has value, but how did this phenomenon start?

Many famous album covers have been produced since Alex Steinweiss (the man who is credited with „discovering‟ cover art) was first hired at Columbia Records. Let‟s explore this innovator and album cover designer in detail:

At age 23, the “Godfather” of album cover art, Alex Steinweiss

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com accepted a job to design promotional materials for Columbia Records. What would happen next would revolutionize the music industry, specifically vinyl records, when he invented the illustrated album cover. A rather obvious, but brilliant, idea was to create a titillating graphic package that would, not only protect the record, but advertise the artist and the music contained therein (prior to this, records were sold in plain, undecorated wrappers).

“Records used to be relegated to the back of the stores that sold refrigerators and stoves. You‟d go to the counter and ask for the title you wanted,” recalled Steinweiss. “I needed to shake up the industry, we had to do something like European poster art to draw the attention of the buyer.”

And “shake up the industry” is just what Steinweiss did. Starting in 1939 with his first covers, for a collection of Rodgers & Hart‟s Musical Hits, Columbia executives saw the sales of the illustrated albums skyrocket, including one by more than eight hundred percent. Soon after that 78 rpm albums were adorned with decorated covers and displayed in store windows.

A new medium was born, album cover art became the norm and attracted established artists and inspired many new artists to enter the arena. It allowed the record company and the artist to promote a visual image and identity with the music.

So who was Alex Steinweiss? Let‟s explore his life in detail. Steinweiss grew up in Brooklyn‟s Brighton Beach area and he attended the Abraham Lincoln High School from 1930-1934 and that is where he started his graphic designing career. In a program taught by Leon Friend, Steinweiss and his classmates were known as the “Art Squad,” designing school publications, posters and signs. When he was seventeen, Steinweiss‟ work was showcased in PM Magazine. He received a scholarship to Parsons School of Art and graduated in 1937. His first job was as an assistant to Joseph Binder, a position that lasted almost three

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com years, before receiving a call about a new position at the newly formed Columbia Records. He designed all the covers for Columbia between 1939 and 1945, a period in which he developed and honed the graphic art of album cover design. In the period between 1945 to roughly 1950, he still did cover design for Columbia, but he was not the sole designer. He also began “freelancing” and began designing covers for other record companies.

Alex Steinweiss As a freelance designer with such record labels as RCA, Decca, London, and Everest, Steinweiss was considered peerless. Using his own unique format of blending eye-catching illustrations, vivid color schemes and playful typography, Steinweiss created album covers for such musical greats as Louis Armstrong, Bela Bartok, Count Basie, Leonard Bernstein, Duke Ellington, Benny Goodman, Kate Smith, and many others.

His album covers are considered iconic and he designed them as miniature posters with a distinct personality for each cover. His signature font, the “Steinweiss Scrawl,” first appeared around 1947 and his style and album cover design is synonymous with the Golden Age of Jazz, Classical and Popular music that was

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com dominated by RCA, Columbia, Decca, Victor and London record labels.

In the 1950‟s, Steinweiss added photography to his album cover design palette. His use of strange, garnish colors, inventive lighting techniques and numerous visual puns and reference points only added to his unique style of cover design and has made him an icon in the music industry. By his own admission, Steinweiss claims to have designed more that 2,500 album covers.

His later work, from 1960 through around 1973, was working with the Decca and London record labels. It was during this period that he developed die-cut designs and collage. He retired to Sarasota, Florida around 1974 and remains semi-active, having designed at least one book cover and several CD covers as well as having designed liquor bottles, posters, pamphlets, and titles for TV shows.

All of us owe a hearty thank you to Alex Steinweiss and his contributions to album cover art and music. Can you imagine no art work accompanying a vinyl record? I can‟t, and it is a great thing that Alex Steinweiss couldn‟t either.

I have my favorite album covers and I am sure you do as well. Rolling Stone Magazine and as well as dozens of radio stations have compiled their lists of the top album covers of all time. (Sgt. Peppers Lonely Hearts Club Band by the Beatles is a usual winner) Many famous artists have designed covers as well. A very famous cover, “Sticky Fingers,” by the Rolling Stones was conceived and photographed by Andy Warhol. As the story goes, at a party in 1969, Andy Warhol casually mentioned to Mick Jagger that it would be amusing to have a real zipper on an album cover. A year later, Jagger proposed the idea for Sticky Fingers. But, there was a flaw in the shipping process; the zipper would press onto the album stacked on top of it, causing damage. The designer, Craig Braun came up with a solution: the zipper

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com had to be pulled down before the album was shipped, then it would only dent the label. However, Braun never did figure out how to keep the zipper from scratching the other album covers.

Some department stores refused to display the album, feeling it was risqué and not family oriented because of the model‟s snug jeans and zipper display. But this album is historic because it broke new ground and also was the debut of the famous Stones logo: a caricature of Jagger‟s lips and tongue.

Artist Roger Dean is world-famous for his legendary album cover designs and concepts. He is best known for his partnership with the progressive rock band Yes and his album covers are peerless.

Dean was born in Ashford, Kent, England in 1944 and spent much of his childhood moving around the world (he has lived in Cyprus, Greece, and Hong Kong) with his British army father. The family returned to England in 1957 where Dean enrolled in the Canterbury School of Art and earned a National Diploma of Design. In 1968, he graduated from the Royal College of Art. Dean preferred to distinguish between design and the reworking of an existing model or design or inventing and the making of something new, a concept that would help him later on with his work.

In fact, one of his inventions was the “sea urchin chair,” a foam chair which, though appearing to be spherical would conform to the person sitting in it; who could obtain a seated position of varying angles. The uniquely designed chair was featured in the film “A Clockwork Orange” and Dean was commissioned to design a “landscape” of similar seating for Ronnie Scott‟s Jazz Club.

It was around this time that Dean would embark on the now 25

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com famous art design work that he is best known for, designing and painting unique album covers for various rock bands. His first album cover was for a band called “Gun.” In 1971, Dean designed the cover for the first Osibisa LP (an African/Caribbean band) and this cover attracted a lot of attention and interest in his work. In fact, later that year, Dean formed the partnership that he is most recognized for, the album cover art for the band Yes (and along with his brother Martyn, designed the stage set for the band as well).

As Yes guitarist Steve Howe explains, “There is a pretty tight bond between our sound and Roger‟s art.” Dean‟s art is characterized by dreamy, space-like landscapes, floating islands, and fantasy habitats. He primarily works with watercolors, but many of his paintings make brilliant use of other artistic media such as gouache, ink, enamel, crayon, and collage. Dean is also a highly respected calligrapher, designing logos and titles to compliment his paintings.

Besides his impeccable and incomparable album covers for Yes, he has also designed album covers for the rock bands, Uriah Heep, Asia, Atomic Rooster and Budgie and artists Steve Howe and Rick Wakeman.

In 1985, Dean landed a gig with Psygnosis and he has designed the artwork for several videos games, including Tetris Worlds and the redesign of the Tetris logo. In recent years, he has focused on his architectural ideas and designs. As an architectural designer, he has designed homes and sustaining villages and even designed all the aspects of his own home, from the construction techniques that were implemented to his own emotional comfort and security. The design is based on his “Home For Life” concept that a house should be artistically appeasing, irenic and environmentally kind; yet cheap and quick to construct.

Rest assured that whatever project Roger Dean may be working

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com on, it will always be innovative, inspiring, and incomparable and tackled with an obvious zest. His stylish, conceptual album cover art will live in infamy for years to come as he continues to influence new artists to this day.

I have recently purchased a couple of books that feature Roger Dean‟s artwork and they are truly amazing. His art almost comes to life in full color right before your eyes. Here are the books:

http://tinyurl.com/575cff

http://tinyurl.com/6yamum

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Many musicians and record labels took full advantage of what album cover art could do for the bottom line and for the industry itself. One of the most prolific bands to take advantage of album cover art and its power of marketability were, of course, one of the most famous groups of all time, the “Beatles.” From such famous album covers as “Yesterday and Today” (1966), “Sgt. Pepper‟s Lonely Hearts Club Band” (1967) and even including the simplicity of the “White Album”, the Beatles certainly took full advantage of the allure of a great album cover (it didn‟t hurt that the music is legendary).

“Butcher” cover

In fact, their album “Yesterday and Today” (also known as the “butcher album”) is highly collectible and, if you have an original, highly priced and is one of the holy grails of record collecting. Although Capitol Records recalled the album, many were released as promotional material to DJ‟s and critics. Only then did the uproar ensue. You see, the Beatles were tired of Capitol Records chopping up their albums and repackaging them (the songs on this particular release are album cuts from previous Beatles‟ albums including “Help!” and “Revolver”), so they posed with decapitated baby dolls, slabs of meat and fake blood as kind of a quasi protest, not ever thinking it would go out to the public. Capitol Records quickly intervened and recalled thousands of record albums and pasted over the “butcher cover” with what is now known as the “trunk cover” (just a picture of the Fab Four

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com with a large trunk).

The Beatles also have one of the greatest album covers of all time and the group won a Grammy Award (for Best Album Cover) in 1968 for the legendary album cover for “Sgt. Pepper‟s Lonely Hearts Club Band.” Created and designed by Jan Haworth and Peter Blake, the cover features the group posing with a collage of famous singers, composers, comedians and other worldly figures including Lenny Bruce (comic), Edgar Allen Poe (writer), W.C. Fields (comic), Fred Astaire (actor), Bob Dylan (musician), Marlon Brando (actor), Marilyn Monroe (actress) and Karl Marx (philosopher/socialist), among many others.

Beatles Sgt. Pepper

But there were a few people that were originally intended for the front cover, but were excluded, for a variety of reasons. For instance, Jesus Christ was omitted because the album was released just a few months after John Lennon had declared that the Beatles were more popular than Jesus. Adolf Hitler was removed at the insistence of Parlophone Records. EMI requested that the image of Mahatma Ghandi be removed fearing his presence on the cover would offend the Indian Market. Legendary actress Mae West initially refused, but relented after the Beatles sent her a personal letter. Additionally, an image of Leo Gorcey was omitted because he had requested a fee for the

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com use of his likeness. (For a complete list of exactly who is on the cover, please visit:

http://math.mercyhurst.edu/~griff/sgtpepper/people.html)

Moreover, these two Beatles‟ albums exemplify the power of a great album cover (and in the Beatles case, great music). The albums also bring to the forefront the power that record companies have and the restraints that they can utilize to control the overall album cover package. With this in mind, let‟s explore some banned and controversial album covers.

The „edited‟ Two Virgins cover

One of the most notorious and controversial albums of all time is “Two Virgins,” which was released in 1968 by “John Lennon and Yoko Ono.” On the front cover was a full frontal picture of both, completely nude, and on the back was a nude picture from the behind. Paul McCartney had tried to convince Lennon not to release the cover because of the controversy it would certainly create. In some jurisdictions, the albums were impounded as obscenity and distributors were forced to sell the release in plain brown wrap wrappers. Incidentally, even with this provocative and disturbing cover, the album was not a best seller, as it lacked significant content (it was full of bird noises, tape loops, misplayed organ snippets, and other assorted sound effects).

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Electric Ladyland by Jimi Hendrix

In that same year, “Jimi Hendrix” released “Electric Ladyland,” which featured him with a harem of naked women. The album created massive controversy and was ultimately banned in the U.S. But, it seems that the re-done artwork for the U.K. version did not arrive in time, so Jimi and the girls are available in the U.K. version. The cover was not banned in Europe and import copies of the album have always been the most sought after imported record in the U.S. The album was reissued in the U.S. with a picture of Jimi‟s face (minus his ladies of course).

In 1969, the super group “Blind Faith” (members Eric Clapton, Ginger Baker and Steve Winwood) released their lone album together, appropriately entitled, “Blind Faith.” What wasn‟t appropriate was photographer Bob Seidemann‟s picture of a topless pre-pubescent girl holding a silver space ship. The album was then reissued with an alternate cover which showed a photograph of the band. According to Seidemann, her fee for the picture was a “young horse” which was purchased for her by Blind Faith‟s band manager Robert Stigwood.

The Rolling Stones had another album that drew criticism, their 1968 album called “Beggars Banquet.” It was the first cover not to feature a band photograph; instead the Stones‟ decided to use a picture of an unsightly, filthy bathroom with graffiti-laced walls. The record label in the U.K. (Decca) and the U.S. label, London

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Records, both balked at the cover (it was considered to be in poor taste) and a bitter three-month legal battle began. The Rolling Stones lost the battle and the album was replaced with an elegant formal party invitation (but the cover was restored for CD pressings in the mid 80's).

Naughty “bathroom behavior” album cover first surfaced in 1966, when the “Mama‟s & the Papa‟s” released their LP called “If You Can Believe Your Eyes And Ears.” The cover, a picture of the “flower power” quartet squeezed into an old bathtub next to a toilet, apparently received so many complaints that the record company (Dunhill) was compelled to rush out a replacement cover, with graphics that promoted the group‟s hit singles blocking the offending toilet. They even went so far as to issue yet another cover, this time removing the toilet completely.

Middle fingers have always been taboo on album covers and the outrage began in 1957 when Capitol Records released an album by the doo wop group the “Five Keys.” An innocent cover, it pictured the vocal group posing together in snazzy suits. But it seems that lead singer Rudy West‟s forefinger was imagined by some to be a specific part of the male anatomy. So a decision was made for subsequent issues to have the finger in question airbrushed out.

“Moby Grape‟s” self-titled release in 1967, also had a finger of prominence displayed incorrectly, but the album cover was quickly airbrushed by Columbia Records.

A misplaced(?) finger/thumb caused another uproar in 1971 when Warner Brothers released “Alice Cooper‟s” new album called “Love It To Death.” His “gesture” was not taken too well and was

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com censored, the middle finger being airbrushed away. In fact, four different versions of the front cover exist, apparently in the picture his thumb could possibly be mistaken for a specific part of the male anatomy.

David Bowie-“Diamond Dogs”

“David Bowie‟s” cover art featuring a half-dog, half-Bowie figure (painted by Guy Peellaert) for his 1974 album called “Diamond Dogs,” caused quite a stir. Apparently, the record company (RCA) did not like the fact that the “Bowie-dog” was anatomically correct and had the offending appendage airbrushed out on subsequent releases.

Apparently, pulling bubble gum off of a woman‟s exposed breast is a major crime, or at the very least, a reason to reissue an album cover. Or so, that is what the German heavy metal band the “Scorpions” found out in 1979 with their album release called “Loverdrive.” The album cover features a man and a woman sitting in the backseat of a car, with the man removing the scandalous bubble gum from her breast. It was subsequently reissued with a black cover with a blue scorpion on it (thankfully the scorpion was fully-clothed). The band had another album (“Virgin Killer”) cover nixed because of a nude cover of a young girl. Scorpions- “Loverdrive”

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

In 1994, scandal found the rock group called the “Black Crowes,” because their album cover “Amorica” showed pubic hair from a Hustler magazine photograph. The close-up of a woman‟s “mid- section” in a bikini, apparently exhibits too much hair, and made the public uncomfortable. Pressured by powerful conservative retail chains, the record company (Universal) had to reissue an alternative cover, just a bikini over a black background (sans the offending hair).

It seems that a major retailer in the U.S. wields a lot of power and influence. When “John Cougar Mellencamp” released his 1996 album called “Mr. Happy Go Lucky,” a picture on the cover of Jesus and the devil had to be changed. Since it did not affect the music and he did not design the cover, Mellencamp obliged and changed the cover to appease the previously named major retailer.

Rapper “Ice-T” joined the foray with his critically acclaimed 1991 album release called “Death Certificate.” It seems an album cover showing “Uncle Sam” on a mortuary slab as well as Ice-T‟s violent lyrics, prompted one state (Oregon) to enforce a statewide ban on displaying the rapper‟s image in retail stores.

Alternative rockers‟ “Jane‟s Addiction” singer Perry Farrell caused quite a stir in 1991 as well. When he submitted his original artwork for the band‟s sophomore album, “Ritual de lo Habitual,” to his record label (Warner Brothers), they were not pleased. They released it and the sparks flew, and under corporate pressure, the group relented and replaced Farrell‟s artwork with a plain white cover and text from the First Amendment to the U.S. Constitution guaranteeing freedom of speech.

In 1997, “Aerosmith” released their new album titled “Nine Lives” which featured a dancing figure with a cat‟s head. The artwork, taken from Hindu imagery, aroused the anger of some Hindus and the band and record company apologized, and then changed the artwork.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Alternative grunge giants, “Nirvana” raised the ire of two retail giants (Wal Mart and K Mart) in 1993 with their album cover art and a song on their album “In Utero.” The back cover of the release was changed to read “Waif Me,” instead of the real title of the song “Rape Me.” Despite the band‟s insistence that the lyrics for the song were, in fact anti-rape, these aforementioned retail giants insisted on the wording change. The retail giants also refused to stock the album because of its artwork (which featured an anatomical figure and model fetuses), so a “doctored” version of the back cover was made for them.

The band “Beautiful South” released an album in 1989 called “Welcome To The Beautiful South,” and the original release pictured an image of a woman with a gun in her mouth and a picture of a man who was smoking a cigarette. This album cover was banned by the retailer Woolworth‟s because, in their reasoning, it might cause people to start smoking. The album cover was replaced by pictures of a rabbit and a teddy bear.

Smoking also got the band the “Arctic Monkeys” in trouble with the “censors” in 2006, because of the cover for their release “Whatever People Say I Am, That‟s What I‟m Not.” The cover sleeve depicting a friend of the band smoking a cigarette was criticized by the NHS in Scotland. They claimed that the band was “reinforcing the idea that smoking is OK,” a charge that the band disputed. In fact, the image on the CD itself is a shot of a full ashtray and the band‟s product manger declared, “You can see from the image smoking is not doing him the world of good.”

Arctic Monkeys Lynyrd Skynrd

In a sad tale of irony, the band “Lynyrd Skynrd” had their album

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com called “Street Survivors” (1977) pulled by executives after three band members were tragically killed in a plane crash. You see, the first album cover featured a picture of the band surrounded by flames. The album was released a week before the plane crash that killed singer Ronnie Van Zant, guitarist Steve Gaines and back up vocalist Cassie Gaines. The cover was quickly pulled and the replacement cover, a picture of the band without the flames, was quickly introduced. CD reissues have restored the original cover.

With an increase in the sales of vinyl record albums and a renewed interest in album cover art, we should, and can expect more censorship, controversial album cover art, as well as legendary album cover art to again become part of rock and roll lore.

When we look back at album cover art throughout the years, it is kind of ironic that some album covers that are released these days can cause such uproar because they may have a nude image on them or sexual suggestive scenes. But „naked vinyl‟ started a long time ago, and, in fact, sold many, many records before it was decided that it is offensive. Let‟s explore some of the more interesting facets of „naked‟ album cover art and erotica.

There is an age-old adage in the marketing world that „sex sells.‟ And let‟s face it, you‟re more apt to buy a particular product from a curvy supermodel than a housewife with curlers in her hair and pictured in a robe and slippers, or you may prefer a hunky-he- man instead of a pot-bellied, balding gentleman hawking a product.

So, taking advantage of this motto, the record labels and specifically, album cover art, used this phenomenon to sell records. The labels released all kinds of music and „blue‟ comedy records with one thing in common, nudity, and plenty of it. It all began in the late 40‟s when album cover designers and the

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com marketing departments for various record labels conjured up a plan to sell records by adorning the album covers with nude or scantily clad women. Another slippery gimmick was to make a play on the title of the record, a visual pun that allowed the erotica to slip in subtly and unnoticed.

For instance, on an album by Hugo Winterhalter (RCA Victor LPM- 1904) called “Wish You Were Here,” the cover depicts a beautiful woman seemingly stranded on a desert island with only a telescope and her ripped and cleverly revealing nightgown. Beside her, in a cartoon caption cloud, she is stating the name of the album. And, yes, this worked, the album sold very well and it is still cherished by record collectors to this day.

In post-war America in the 1950‟s, stripping as a form of adult entertainment was in vogue, with some women becoming minor celebrities. Why even American idol Joe DiMaggio had a well- documented affair with a hooker. Sex was selling magazines, posters, calendars and everything else in between. And jumping on this bandwagon, record companies rose to the occasion by releasing hordes of “Music to Strip By” records.

Cinema and magazines soon jumped in with big and low budget films and the success of the adult magazine „Playboy‟ helped pave the way for an increase in the use of „naked vinyl‟ record covers. In fact, famous Playboy models like June Blair, Dawn Richard, and Jayne Mansfield were featured on record album covers. Playboy even released a few records now and then, such as 1958‟s “Playboy Jazz-All Stars LP.” In the same year the magazine featured a pictorial montage about erotic album cover art, even using the headline “Music To Make Your Eyeballs Pop.” Playboy documented that the record companies were utilizing a discovery that was made popular by the paperback and romance book publishers-that nudity on the covers sells.

But the „naked vinyl‟ and erotica vinyl cover phenomenon was just getting started. The 1960‟s brought the public „stag party‟

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com records, sex-obsessed vinyl covers that not only featured risqué music and lyrics, but „live‟ blue comedy as well. Kind of like sports cards for adults, these „stag party‟ records were highly sought after and collectible.

Yes, the public was snatching up these raunchy and „blue‟ comedy records and two record labels on the West Coast in particular took full advantage of the opportunity to cash in on the trend. It became an excuse to release as much crass comedy and trashy sex songs as they could. Based in L.A., Fax Records was one of the most prolific labels, and had four distinct „sex genres‟ that they focused on. They, of course, capitalized on the „stag party‟ themed records, but also included a „personality‟ series, a special „erotica „series as well as a „themes and scenes motion picture set‟ series. These records were all about sex, in many forms, and were both educational and entertaining.

The second West Coast record label, LAFF records, focused on the American Nightclub Comedy Circuit and promoted their releases by quipping “Recorded at the scene of the applause, on the stage, or at an intimate party, the live and living heart-tugging, button- busting laughter of America‟s funniest comic personalities; on LAFF Records just for you!! Have a Party, Have a LAFF!” And LAFF backed up their claims with coarse and crude comedy records including a record called “Tales You‟d Never Tell Your Mother,” from raunchy comedian Kenny Carol. A country comedian, Sam Nichols‟ (Cowboy Sam-The Old Cowhand From The Rio Grande) slow southern drawl was a perfect medium for his crass comedy; including a country comedy song called “Courtin‟ on a Mule.” Other “naked cover” comedians included the lascivious Rex Benson, the „blue‟ comedy of Bub Thomas, the stand-up dirt of Bert Henry and many, many more.

But the coarse comedy was not limited to the men. Faye Richmond, Madame Mame, Terri “Cupcake” O‟Mason, and many others were all successful entertainers in their own right. All these records invited the public into the intimate world that was

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com popularized by the rich, famous and sexually successful, embellishing “You Are There” or “Rubbing Shoulders With Hollywood Greats.”

Not to be outdone by their counterparts, many East Coast record labels followed suit. None were more successful than the Davis and Que record labels and both of them focused on saucy songs and risqué nude cover art. Davis, in particular, had a cavalcade of stars that would churn out „double entendre‟ songs that had been popularized on the Vaudeville stages. In fact, the owner of the label, Joe Davis, also wrote some of the songs and brought talented entertainers to the genre as well as a classic line of album cover art. The Que record label produced more of the same material, but the records were dubbed as “sexucational,‟ with songs and stories to inform the uninitiated.

In 1967, it seems that the attitudes about „naked vinyl‟ had changed over the years, being replaced by peace, love-ins, and flower children. When Jimi Hendrix released his album “Electric Ladyland,” that featured Jimi surrounded by naked and buxom beauties, it created quite a stir. The cover was replaced, but the genre did not go away altogether, rather it was replaced by pop- art covers, psychedelia, and slender, beautiful European women who would grace various covers from a multitude of musical genres.

Maybe the fad had run its course; the gimmick wasn‟t nearly as popular by the end of the 60‟s. But, now instead of getting coarse comedy, stag party specials and often quality music to accompany the „naked vinyl‟, instead it became an avenue and a tool to release terrible music, by not so talented musicians; all packaged in a sexy cover and priced to sell.

Foreign music from Italy, France and Germany and other countries flooded the market with substandard music, but they all had one thing in common-„naked vinyl „covers. Cover versions and greatest hits compilations were hastily recorded and rushed

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com to press, all including that special feature that the record companies knew the public would enjoy, never mind the music. In the 1970‟s, the „easy listening‟ music boon was in full swing, full of Hammond organ medleys, smoochy-sax covers of pop hits and ear-bending violins destroying popular classics. Artists such as Gil Ventura, Klaus Wunderlich and the „Latin Lounge Lizard‟ covers of Robert Delgado were all cashing in on the fading fad.

In addition the 70‟s saw an exotic extravaganza of foreign music that the public would probably have never have gotten to hear, sans the „naked vinyl‟ album covers. Mysterious countries all of a sudden were thrust into the music spotlight, from Borneo to the shores of South America and Africa. No country or culture was excluded. From the erotica landslides of misguided music of traditional song, all merged with native naked women in exotic poses that were happily hawking the substandard music.

In the late 70‟s, another phase of „naked vinyl‟ came in the “disco era.” The Ohio Players released a wonderful erotic series of „almost‟ nude cover art. Sexual innuendo on the form of an album cover was not lost with the disco „divas‟ “Silver Convention,” whose cover for their album called “Save Me” created waves. Their frontal nudity of “Discotheque Volume Two,” not only features their big hit of the era “Get Up and Boogie,” but a startling cover of a handcuffed female. Blended in with a list of steamy, seductive songs, the cover grabbed audiences‟ attention as well as their eyes.

But as the disco era closed and the 70‟s drew to a close, society seemed to tire of the market and album cover nudity was no longer a mainstream wonder. Album cover artists and record companies all left sex to the imagination and returned to the safe images and cover art that was G-rated. With the advent of the compact disc, album cover art was led into the annuls of music history and pretty much became a non-issue.

That is not to say that „naked vinyl‟ disappeared from the shelves.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

On the contrary, there have been many album covers that have caused quite a stir from Jimi Hendrix‟s “Electric Ladyland, David Bowie‟s “Diamond Dogs” and the band Jane‟s Addiction. Anticipating trouble with the album cover, the band released the 1990 album called “Ritual de lo Habitual” with two covers. One cover, which featured singer Perry Farrell‟s artwork (male and female nudity), was released along with a „clean‟ version of the cover with the text of the First Amendment of the U.S. Constitution, that promotes free speech.

All we can ask is where was the censorship in the heyday of „naked vinyl‟ album cover art? Now pop artists, rappers and rock and rollers can sing and say anything they want on a record. You can turn on the radio and hear the “Frankie Goes To Hollywood” sexual number “Relax,” but god forbid you show any nudity on an album cover.

But all is not lost for the lovers of „naked vinyl‟ cover art, as the 90‟s and beyond have seen album cover art and specifically „naked vinyl‟ return as record companies and designers are not afraid to use the human body to sell music. Vinyl is back, with the public demanding the format as well as the album cover art that accompanies it, no matter what the format, because as we have all learned; sex sells.

Additionally, the Internet is full of sites related to album cover art and is just too numerous to list. There are sites devoted to fan favorites, the weird and unusual, particular decades and so on. Many users have turned to ebay to find lost art treasures from their childhood. But I want to share a website and album cover artwork finder that is not only convenient, but a must have for any art lover.

Want to look at some of these album covers and take a stroll through rock art history? I recently spoke with Richard Nicol, the program designer and owner of “Album Cover Finder.” (www.albumcoverfinder.com) The program has been available for

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com more than two years and is a godsend for anyone interested in album cover art. “Album Cover Finder” allows the user to not only find specific searches for interesting album cover art, but also allows the user to download selected songs from the release. I asked Richard about his fascination with album cover art.

“I‟ve always been interested and loved album cover art and wanted to create a database where the users could not only look at album cover art, but experience it as well. The program allows the user to browse through the cover art of a particular band and also lets the user to download particular songs through iTunes as well. The main feature is convenience, you can utilize iTunes and not only get more of an experience for the music, but the great artwork involved with the music and artists.”

But, “Album Cover Finder” is more than just iTunes and album cover art. The program allows users to look at different art work from different countries as well. Some of the art work involved in a US release may be different from that of a UK release or German release, only adding to the experience. The program also allows users to review artist biographies, read reviews of a particular release, and add the artwork to their iTunes library and an iPod. “Album Cover Finder” also allows users to find additional cover art from a particular artist or band, copy the artwork to a clipboard and has artist videos and applicable tour information. “Album Cover Finder” is a fully functional way to search for album artwork and includes free updates for registered users.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

The Preservation Of Vinyl & Cover Art

While doing research for this book, I discovered a website devoted to the preservation and appreciation of vinyl and the cultural impact that the vinyl record has had society as a whole Check out the web site:

http://www.vinylrecordday.com

Gary Freiberg, founder of Vinyl Record Day, was kind enough to talk to me about this book and thought this subject should be included and I wholeheartedly agree.

You see, their main purpose is to promote the preservation of the vinyl record and the art associated with it. Record album music and art have influenced our culture in many ways. This website explores these influences and even has dedicated a day every year to celebrate vinyl records. The day is August 12; the day Edison invented the phonograph in 1877. The celebration of Vinyl Record Day is the Saturday following August 12 and the purpose is to “celebrate with family and friends and enjoy music that reminds us that regardless of national news or personal challenges, life always has its goodness.”

“Lastly, Vinyl Record Day is to ensure the monetary value of vinyl records. Prices for records are subject to supply and demand as most everything else is. Through greater mainstream visibility, VRD hopes to help further grow the demand for vinyl, securing value so those who own record collections of any size will have additional benefit by caring for them.” (Quoted from Vinyl Record Day mission statement, reprinted by permission.)

Organizations like this help keep the appreciation for the vinyl record strong. Show your support for this organization, first, by

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com recognizing Vinyl Record Day celebrating with family and friends and spinning your favorite tunes and second, by becoming a supporter. For information, please visit: http://www.vinylrecordday.com/supporter.html

Vinyl Record Day is the only nonprofit organization dedicated to the preservation of the Cultural Influences, the Recordings and the Cover Art of the vinyl record. To read an interview I did with Gary visit: http://tinyurl.com/396kwr

VRD UPDATE (01/01/09):

Vinyl Record Day (VRD), Founder Gary J. Freiberg has announced the United States Postal Service has accepted Freiberg's proposal for a full review and consideration by the Citizens' Stamp Advisory Committee to issue a First Class stamp series commemorating the vinyl record. The advisory Committee is responsible for making stamp subject recommendations to the Postmaster General.

"The intent for the stamp series is to raise awareness that we need to preserve our audio history that is available only on the vinyl record and to educate the public on the importance of preserving individual record collections. The RIAA has estimated only five percent of all recordings have been transferred to compact disc or other digital formats. There are a countless number of recordings that will never be transferred to other formats because it is not economically feasible for record companies to reissue releases that will not have commercial support. What many term are "old records" time has turned into audio historical documents, issuing a stamp series would be a major contribution to heightening the public's awareness of the importance of preserving the audio and visual history of the vinyl record." said Freiberg.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

If adopted the series would be issued in 2011. Though final decision has not been made, Freiberg is encouraged, as the initial positive response from the manager of Stamp Development was made in less than a week. Freiberg will keep me informed when new information is available.

(November 2008 update- Gary continues to receive positive feedback and a „Stamp Specialist‟ has told him that the Vinyl Record Stamp is one of 25-30 stamp proposals the Stamp Committee is considering. So, considering that they get more than 50,000 proposals, this news is certainly encouraging!)

Framing famous covers

Visit this world famous site for record album framing:

http://tinyurl.com/29keqc

Example of “framed art

“The Record Album Frame - There's two primary reasons our patented Record Album Frame is the one chosen by the Smithsonian, Home & Garden TV, the Rock & Roll Hall of Fame and thousands of Internet purchasers: It's the look - our patented frame creates the best display for Album Cover Art. And it does so without clips, just slide your LP into our acrylic frame to matte and frame your album cover instantly. Hanger is attached

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com on back, ready to display.” If you visit, drop Gary an email and tell him how you found his site!

Vinyl Art

I also have had the privilege to speak with another person involved in the preservation of vinyl, but on a different level. I have seen custom jewelry, purses, clocks and other items made with recycled and worn out records, but what artist Daniel Edlen does is a must see.

Using old, generally unplayable vinyl records (LP‟s) as a canvas, artist Daniel Edlen is creating one-of-a-kind „Vinyl Art‟ masterpieces, adding a new dimension to the art of vinyl albums.

I spoke with Daniel about his love of art and music and how he is able to merge the two on the unique canvas of a vinyl record.

“My Dad introduced me to records with the Beatles‟ “Revolver” album,” explained Daniel. “My Mom volunteered for the local library, running the used book sales. They would get records as donations and I got first crack at them because they were usually too beat up and they didn't sell well. Then I had an art project in my teens with white pencil on black paper and I thought, why not try to paint on some of these old records.”

But as a record collector yourself, isn‟t this almost blasphemy, using a vinyl record as a canvas?

“I have struggled with that question, especially after the reaction I've gotten from some collectors. My answer is that I do try use albums that would practically ruin a good phonograph needle, and also, I'm turning something that likely would sit in a box in someone's garage into something they can hang on their wall to celebrate their musical culture. It's something unique and creative that is a great ice-breaker, starting conversations about

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com music, art, and all things retro.”

When asked about the process, Daniel detailed:

“The actual painting part of the process verges on meditation for me, it just flows. I'm always listening to music while I work, often whom I'm painting. It's a joy to do what I do, and when I write my blog posts, I often end up adding how lucky I feel that my passion allows me to touch people. The tricky part is finding and sizing the right image of the musician. I place the portrait so the label becomes part of the composition, sometimes highlighting specific information, like the title of the album or certain tracks that make that particular record special or important. I use just white acrylic paint, using the density to create the shading. The whole process takes about a day."

Recently, Daniel has also begun creating time-lapse videos that he's uploaded to YouTube http://www.youtube.com/profile?user=dedlen. These show the development of the paintings, using about twenty-five pictures taken as the painting goes through its stages, and are backed by music recorded by the subject of the piece.

So, just who is Daniel Edlen? Obviously a very talented artist, he would draw and paint for fun and enjoyment throughout his formative years and after experimenting with other art media (such as sculpture), he did a few pieces of what he now calls „Vinyl Art‟ for friends and family as gifts.

His audience not only loved his work, they encouraged him to try selling them. So with the support of his wife, family and friends, Daniel decided to utilize his talent and passion to, not only make something new from something old, but to create a whole new way for music-lovers to share that passion. For Daniel, the payoff is peoples' reaction when they see the pieces for the first time.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Daniel has opened up a web site and online gallery http://www.vinylart.info/why.htm so the public can see just what he does. Framed simply in a black metal LP frame with the album sleeve behind, the focus is on the original painting.

As a vinyl record collector and enthusiast, I am excited and just

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com marvel at the „Vinyl Art‟ history and one-of-a-kind paintings that Daniel Edlen creates everyday. Daniel keeps his audiences craving more, and as an artist, that is all you could ever wish for.

Are you interested in acquiring a unique piece of art? Through special arrangement with collectingvinylrecords.com and famed artist Daniel Edlen, I have arranged for a 15% discount on a purchase of this amazing art. Email me ([email protected]) and write “Vinyl Art Discount” in the subject line and I will email you the code to use) Then you contact Daniel, give him the code and you qualify for a 15% discount!

More Vinyl Cover Art to enjoy: http://www.youtube.com/watch?v=hQaaVTBSGoU

On a personal not, I got “hooked” on record collecting when I was about ten years old and I put my first needle on one of my older brother‟s 45 records by the McCoy‟s. The song? Fever and I could not get enough of the few seconds of the drum introduction for some reason. It was a big deal for me to be able to borrow his records and use his stereo, and I still have some of those original 45‟s. The only problem is the grooves have been worn out from being overplayed. (For a more detailed explanation about this phenomenon please visit): http://www.lastfactory.com/record_wear.html

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Converting Vinyl To CD

One of the ways I circumvent this problem is convert my vinyl to CD. This process serves many functions. It helps to preserve the vinyl, by “ripping” it to CD; you do not have to play the record every time you want to hear that particular artist. That saves wear and tear on the precious vinyl (especially if it is a rare record!). It makes the vinyl record “portable,” meaning you can take it anywhere, without worrying about damage, theft or overplaying. You can also play it in your car and this is especially great if you have a vinyl record that is not available on any other format.

There are many software programs out on the market that you can use and even web sites that you can pay to have this done. They are too numerous to list and I have no one program that I can recommend. But I will tell you what I use to convert my vinyl to CD.

I have purchased and highly recommend the TEAC Multi-Music Player/CD Recorder GF-350. This is an easy way to convert old vinyl to CD and also converts cassette tapes as well. If you are interested in learning more about this wonderful innovation, please visit: http://tinyurl.com/26wlk2

Another method and a very easy system that is gaining popularity is the USB Turntable. Check it out here:

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

http://tinyurl.com/2cxz3g

I still have some of my brother‟s old records. It was a big deal for me to clean his Pinto (yes that was a car back then) and get to use his stereo and listen to Neil Young, Jethro Tull and the Beatles. It wasn‟t long after that, that the vinyl bug bit me, realizing that even though there may not be monetary riches in collecting records, the artwork, the music and the thrill of the hunt are the riches and that is what most people don‟t understand.

Now, you may ask yourself….is there money in a collectible record? Look at the recent sales at www.popsike.com and you can see there are some very valuable vinyl treasures bought and sold recently!

You can check the final auction price that a particular vinyl record sold at. Although this may not be the true value of the record, it is however, an indication of what collectors are paying at that particular time for that particular recording.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

I have also located a site that gives you the results of ebay auctions and can give you a good idea of what is “hot” and selling at any particular time. A very interesting and informative site, it is definitely worth looking at: http://ccdiscoveries.blogspot.com/

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Kinds of records

Vinyl records come in various sizes and what you decide to collect is of course a matter of personal preference. Some are partial to 45 rpm (revolutions per minute), while others collect 33 rpm‟s; commonly known as albums. But, I will detail it a little more as there is inconsistent language in the music industry to define the types and sizes and I follow the guidelines established by Jerry Osborne, as defined in his many record price guides. Below is a synopsis of the details:

LP- 10 or 12 inch, most common, and are also referred to as albums. They play at 33 and a third rpm. But there is such a record known as a 10 inch or 12 inch single (also known as a maxi-single) that play at 45rpm.

EP- 7 inch records that usually have more than one track on one or both sides and some even have multiple bands on each side

Singles- commonly known as 45's because of the speed they are played at (45 rpm). But they can be manufactured to play at 33 and one third rpm (sometimes simply known as 33 rpm). If a 7 inch single has more than one track on either side, it is considered to be an EP. (Note: singles are usually priced for the record and there are usually separate sections for the “picture sleeves,” which can be traded or sold independently).

78's- as the name implies, these records play at 78 rpm and are usually 10 inch records, but a few 7 inch 78 rpm records have been manufactured.

These are the main types of records, but there have been a few

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com five and six inch records made, although they are not usually listed in the record guides. I own several “Hit Of The Week” cardboard records that I presume were made in the 1940's and they measure nine and one-half inches, so I am not exactly sure what category they fit into. And do you remember records that were included on boxes of cereal? These certainly were not made for sound quality and I would suspect that not a lot of them survived throughout the years

Colored Vinyl

There are records that come in almost every color imaginable, but does that make them more valuable? That is not such an easy question to answer and I must say that it depends. First, there must be a market for the record; someone must want to acquire it. Second, the record label itself could also help determine the value and thirdly are these records readily available? Some of the colored vinyl was produced as “limited edition” specials, but there have been times where a record company may have determined to issue a “limited edition” series, but because of the sales of the record; maybe instead of the 1,000 they said were to be issued, they released over 5,000.

Beatles „Limited edition‟ colored vinyl

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

You see, colored vinyl was, and still is a marketing tool. The grooves of the record play the same way as their bland and similar black vinyl, but because people want different colors, the record companies (and bands) are more than happy to oblige. I own many colored vinyl records (I even have a white vinyl record that is a 45 that is shaped like a heart) and I do see a price variance, mainly because of the scarcity of the records produced.

For instance, as an example of colored vinyl being worth more than it‟s black vinyl counterpart, I own a Chipmunk‟s record from 1959 (Liberty 3131 “Let‟s All Sing With The Chipmunks” on red vinyl). There is another element to take into consideration with this particular record, are the Chipmunks drawn as cartoon characters of animals? My copy is the Chipmunks drawn as animals, which happens to add more value to the record. But, it is also on red vinyl. The black vinyl of this particular record is listed at $25-40 (using Rockin‟ Records Price Guide by Jerry Osborne), while the red version of the same record (with the Chipmunks being drawn as animals) is listed at $50-75. So in this case, the colored vinyl is quoted at a higher price. That is usually the case with colored vinyl, it may be worth more than a “regular” copy, but there are many variables (condition, number of copies in circulation, demand, artist etc) to consider, and in this case, just the way that the Chipmunks are represented on the cover factor into the overall value.

Picture Discs

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Again, this is another marketing ploy by the record companies and the artists to sell their vinyl. The same elements as colored vinyl apply and since these vinyl records are pressed in limited quantities, you will find that they do command a higher price than a “regular” version of the same recording. But don‟t expect very good sound quality, these are made to be looked at and admired, not played. Take a look at some of these beautiful and, often valuable pieces of art here: http://www.angelfire.com/rock/picturediscs/ http://www.prince-picturedisc.com/picture_disc_gallery.html

And to read more about picture discs: http://www.vinylunderground.net/article.html

I have actually just begun collecting picture discs and find them true pieces of art. And I have a great site to suggest to you if you want a great selection of picture discs. Go to the site and then click on the ”picture discs” heading in the menu: http://tinyurl.com/3ahqv7

Mono vs. Stereo

In the early years of vinyl record production, “mono” sound reproduction was the only option available. Crude (by our standards today), but acceptable, this offered playing your records and hearing the sound from a single speaker; until stereo became the “norm” in the early sixties. In fact, you will often find that there are often “stereo” versions and “mono” versions of

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com the same vinyl recording, most with different price ranges (usually the mono version are listed at the higher price because there are less quantities of these records and the demand is higher). Additionally 45's (7" inch singles) remained in “mono” format well into the 1960's because that is the type of audio equipment the buying public (teenagers) had in their homes.

I read that Rolling Stone‟s manager Andrew Loog Oldham claims that the band‟s best work in the 1960‟s was all recorded in mono and insists that “if you want to hear the Stones as we intended you to hear them, listen to the original mono albums.” Motown president Berry Gordy, Jr. regarded mono as the “cat‟s meow” and made sure that the engineers at Motown gave it all their attention. Even the great album by the Beatles, “Sgt. Pepper‟s Lonely Hearts Club Band,” was originally recorded in mono and then converted to stereo and as George Harrison insisted “You haven‟t heard Sgt. Pepper if you haven‟t heard it in mono.”

Yes, the music does sound different, but mono was phased out in 1967, although it lingered on in the U.K. for another year. And although this format was largely ignored in the 70‟s (we had stereo, a new and exciting concept in music) and as the stereo versions of recordings became more popular; mono versions of records were phased out. But, there are the purists who love mono and, in fact, some classic albums from the 60‟s are being reissued in the format (albeit some on CD). Some of these include MCA‟s repackaging of the Who‟s “A Quick One: Happy Jack,” which used the original mono master tape for the release, Pink Floyd‟s LP entitled “The Piper at the Gates of Dawn,” which has also been reissued in mono format and The Crazy World of Arthur Brown‟s 1968 self-titled, debut album released on CD in 1991 with side one of the record recorded in mono as a special bonus on the CD release.

For a more detailed look at the mono vs. stereo debate, I have

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com found a few sites I hope you find interesting: http://www.bcae1.com/stermono.htm http://www.beatlelinks.net/forums/showthread.php?t=18854

Promos

This is a very misunderstood aspect of vinyl record collecting and only adds confusion to the novice collector. This is a very “slippery slope,” as the saying goes. While there are certainly some promotional copies of records that are very valuable, most 1960's era mono promos are relatively common (some promo copies of the same record even out number original pressings of the same recording) and are usually priced at the high end of what a “regular” copy of the same record would be estimated to be worth.

For the most part these promotional copies were not intended to be bought or sold. Some will read: Demo, Demonstration, Not For Sale, Dee Jay Copy or some other identifying wording, some may have a punch hole, the bar code may be missing or some other defacement to the record or album jacket. The label used for promotional records is often different than the standard release with some record companies using a white label.

Sometimes catalog numbers may differ from the regular release. If you are collecting promotional 45's, you should remember that most 45's were issued in promotional format and often in large quantities. Record labels were promoting their artists‟ and freely gave these records to radio stations in the hope of gaining air time. Therefore it is not surprising to see more promo‟s than the regular releases of the same record.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

But there are exceptions and you should be alert and vigilant about identifying these records. Some promos that were released to radio stations combined artists in an attempt to gain recognition for one, by pairing the artist with a more popular one. Still, some promos were released to try to highlight potential hits from an upcoming album, a teaser, if you will. I have some promos in my collection that actually say “Dee Jay Side” suggesting to the DJ the potential “hit” side of the release.

Some promotional records become more collectible because they are sometimes mono promo albums (before the record company abandoned mono for stereo format around 1967). Radio was somewhat slow to this conversion and some albums that were released in stereo only format (i.e. Janis Joplin, Cream and others), were mixed into mono format for radio play, thus creating a unique collectible.

Furthermore, other forms of collectible promotional records are promos that will change the order of the songs on an album or some that the music or lyrics were changed. There also could be several “mixes” of the same promotional record. Another form of collectible promotional material could be a promo-only compilation of an artist‟s greatest hits, sometimes designed to arouse interest in newer material with some records even including one or two new songs on the record. In addition, record companies are capitalizing in the audiophile‟s interest in promotional material by releasing “custom” promos on high- quality “Quiex II” vinyl. Artist‟s such as The John Lennon Collection (Geffen 2023) and an album by Fleetwood Mac (Mirage, W. B. 23607) fall into this specific collectible promo genre. To learn more about this specific area of vinyl record collecting, you should pick up a copy of Goldmine‟s Promo Record and CD Guide: http://tinyurl.com/3xamxl

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Bootlegs

This is a very misunderstood aspect of vinyl record collecting and adds confusion, especially to the novice collector. Most of the world‟s most famous vinyl records have been “bootlegged” at one time or another. Artist‟s such as Elvis, The Beatles, The Rolling Stones, Nirvana, Bob Dylan, The Grateful Dead, Pearl Jam, Metallica, The Who, Led Zeppelin, Bruce Springsteen, Kate Bush, U2, Prince, Stevie Ray Vaughn, Phish, Pink Floyd, to name just a few, have all been “bootlegged”. In fact, Bob Dylan, along with Bruce Springsteen, are the most bootlegged American artists; while the Beatles and Led Zeppelin hold that distinction among the British bands. Each person has their own opinion about bootleg copies of records and the fact is they exist and are collected. It is well known that John Lennon actively collected every Beatles bootleg he could acquire.

While some people will pay exorbitant amounts for bootlegged copies of records, most record guides do not cite their existence, except in rare circumstances. Suffice to say, some can be valuable, but identifying the value (and sometimes the record) can be problematic.

Yet there are some very famous “bootlegged” records including Bob Dylan‟s “Basement Tapes” and his release of the two-lp set “The Great White Wonder.” Dylan has subsequently released more material from this era, including “Flower” and “Troubled Troubadour.” Moreover, in 1971, the entire “Basement Tapes” acetate was compiled onto one disc, “Waters Of Oblivion.” In 1969, the Beatles were in turmoil and as they argued with each other about their final album “Let It Be,” test pressing copies were made by producer George Martin. But at least one of these somehow made it to the American radio airwaves and weeks later it appeared on the streets as a bootleg titled “Get Back and 12 Other Songs.” This recording became one of the most known and highest selling bootlegs of all time.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

In 1969, John Lennon hurriedly released a live recording of the first Plastic Ono Band concert (at the Toronto Peace Festival) because of a bootleg recording that was in circulation. The Rolling Stones also acted upon their bootlegged material by releasing live LP‟s in the 1970‟s.

It is said that what is now regarded as the legendary jazz musicians Charlie Parker‟s most influential and important music is preserved because somebody had the wherewithal to illegally record it. Much of Hank William‟s classic radio broadcasts were also recorded and circulated long after the original music had been forgotten. The Grateful Dead were adamantly opposed to people taping their concerts, yet without this music being taped, the band could not have released some of their most mesmerizing music (in fact, the band actually oversaw many of these bootlegged recordings and helped produce the bootlegged records they released).

The history of bootlegging dates back to the 50‟s with the availability of reel-to-reel tape recorders. People would record popular blues, jazz, and even opera, with both the tapes and vinyl recordings (more often on 45‟s) circulating in the underground bootleg industry. In the eyes of the bootlegger, they were recording music history and this music history should be chronicled and preserved for all who wanted to hear it (for a price of course).

But bootlegs do add value to the music landscape. One could argue that without these recordings, the public may have never gotten to hear specific songs or out-takes. In fact, some music is alive today because somewhere, somebody legally or illegally recorded and distributed it.

Now this is an aspect of vinyl record collecting that I personally do not venture into. Although there may be some very valuable bootlegs, to me, there are just too many other variables to take into consideration. Is it a counterfeit or a bootleg, and what is

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com the difference? I asked Google the same question and had over 600,000 results. I found some of them very interesting and I thought I would share some of my findings. To read more about this you can visit these sites: http://en.wikipedia.org/wiki/Bootleg_recording http://tinyurl.com/36bjyg http://www.culturecourt.com/Ajo/media/boots3.htm http://www.bobsboots.com/bt-labels.html

Counterfeits

Counterfeits differ from bootlegs, in that the counterfeiter is trying to deceive the buyer. They package the material as if it were the original and often reproduce the producer‟s trademark and logo. They mislead the consumer into believing that they are, in fact, buying a legitimate product. There are many, many resources on the Internet (too many to list), so my suggestion would be to Google “vinyl records+counterfeits” to get a better understanding of this part of the record collecting world. I have listed a few sites of interest: http://tinyurl.com/3xr7yz http://www.sidestreetrecords.com/articles/colorPdEtc.html http://tinyurl.com/6las9s http://tinyurl.com/6xpfbd

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Guide to Audiophile LPs

Recently, I have found a detailed explanation of „audiophile‟ vinyl, (http://www.audiophilelps.com/) and it is certainly becoming more and more popular; as classic rock and roll icons, as well as up and coming artists, are now releasing vinyl in this manner. I did not write this, but I feel it is important enough to warrant inclusion in the ebook:

“Audiophile - in Latin 'lovers of sound' “

Overview

It's no exaggeration to say that vinyl has experienced something of a resurgence in the last decade. In a world of musical convenience gained from the introduction of CDs in 1983 and more recently mp3 players, many ask what the appeal of vinyl is and why people are still buying. It would be easy not to understand its appeal if you have never heard how good an LP can sound on a good music system. From the moment you open a record, the size of the artwork, its touch and smell suggest that it‟s something special, beyond the simple convenience of CDs, but nothing comes close to the experience of listening to it. If you are using a good turntable and hi-fi, playing a record can be a wonderful and enjoying experience, arguably being a much closer experience to hearing the music live - with an analog medium sounding less artificial than CDs and compressed digital formats.

The increase in vinyl sales over the last decade are not just from 'normal' LPs you can still buy in some stores and online, but also from the sale of audiophile vinyl pressings, which are manufactured with much greater care and always arguably sound much better than cheaper releases. Please find below a comprehensive overview of audiophile vinyl pressings - how

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com they're made, what the big labels are releasing audiophile records and links to reviews of some of the best sounding releases we've heard. Think of us as your guide to the best quality records now available, allowing you to listen to your favorite albums fresh, enjoy as close to a 'live listening experience' in your home as possible and gain the best possible listening experience from your music system.

General Overview

- Vinyl Quality. Most audiophile LPs are now released on vinyl weighing either 180 grams ('180g') or 200 grams ('200g') and are denoted as such to indicate the greater quality of the vinyl used, often being 'virgin vinyl' meaning purer vinyl is used rather than the recycled plastics used in the production of standard LPs. A result of the greater quality and weight of the vinyl is usually lower surface noise and less cross talk. Please note: earlier audiophile LPs (including those from MFSL, Nautilus, Nimbus Supercut, etc.) were released on standard weight vinyl, but the quality of the vinyl used was very pure and as such, the quality of the sound on these releases is as good - or in some cases better, than the quality of newer releases. Furthermore, heavier vinyl arguably has a longer life and can withstand repeated plays more than the cheaper, less pure vinyl used on standard LPs.

- Original Master Tapes. Audiophile records are often mastered from the original tapes that were used to record the album in the studio or live. This is in contrast to many standard LPs which are mastered from sixth, seventh or even eight generation copies or dupes. With each successive copy sounding less like the original tapes and losing something in the copying process, mastering from the original tapes means that the sound of the resulting record will be as close as possible to the sound of the original tapes and thus as close as possible to the experience of actually being there during the original recording. Many audiophile records

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com are mastered from the original tapes and clearly state this on the record, for example, Mobile Fidelity Sound Lab (MFSL) releases are all labeled 'Original Master Recording' to make this as clear as possible!

- Half Speed Mastering. Half speed mastering refers to the speed of mastering the original recording onto the master lacquer, which is then used to make the masters that press each LP. Many standard LPs are mastered at standard speed, which means that the master tape moves at the same speed as the original recording session and the master lacquer moves at 33 1/3 rpm. In contrast, it is also possible to run each of these machines at half speed. As a result, there is twice as much time for the cutting stylus to cut every possible detail and delicate groove modulation, resulting in LPs where you can hear details and nuances on your favourite albums that you never heard before. Furthermore, mastering at half speed uses less power and as a result the cutting head amplifiers use only one fourth as much power, resulting in much greater head room, better dynamic range, frequency response and lower distortion. This is another reason why resulting audiophile LPs can sound much closer to the sound of the original recording in comparison to standard LPs.

- Mastering Process. Audiophile LPs are produced with much greater care and consideration at every stage of the mastering process. Some labels clearly state a special feature of their mastering process. For example, Classic Records use tube amplification in every stage of their mastering process, following the logic that tubes sound warmer and less clinical than transistors and as such, the resulting LPs should follow suit. In many cases, mastering engineers may have to work with master tapes that are damaged or which need level adjustments to compensate for deterioration. It is an art to do this and to still achieve a sound as close as possible to that of the original recording. In some cases, there will be master recording notes to

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com work with, but damage to a recording tape over time can mean that some albums take considerable time to master properly. In any case, there are some clear cases of significant improvements in sound from some audiophile LPs when compared to original pressings, for example with Carole King's Tapestry from Classic Records, which sounds much more realistic and less 'EQ'd' than standard original pressings. There are some mastering engineers who have achieved small celebrity status for the quality of their mastered albums, for example Steve Hoffman and Bernie Grundman.

- 45rpm, One-Sided LPs, etc. Many audiophile labels have recently released some LPs which are playable at 45rpm. This is an extension of the logic used for mastering at half speed. Mastering an LP at 45rpm rather than 33rpm gives a greater groove length in which to press x period of music, which should arguably result in greater detail and resolution. One sided masters follow similar logic, with the suggestion that this results in one perfect playing surface.

- Direct to Disc. Some audiophile LPs were released using this process, which means that the pressing is made live, with the signal from the session going through to the cutting lathe. The logic behind this approach is that the resulting recording should be devoid of the limitations of a recording medium and should have low distortion, excellent dynamic range and the widest possible frequency response. However, the practicalities of this approach have meant that these releases tend to be solo performers and are of the majority jazz albums. Furthermore, modern digital and 'lossless' recording techniques on newer albums mean that the benefits of this approach are arguably less important now.

- Original artwork, labels, and inclusions. Most audiophile LPs include where possible accurate reproductions of the original

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com cover art, LP labels and any other inclusions which were included at the time of the original release. Such dedication allows you to enjoy the record as if you were buying it for the first time again, but with the advantages of the better mastering.

- Poly-lined inner sleeves. Most standard LPs are packaged using cheap paper sleeves, or in worst cases cardboard sleeves, which can scratch and scuff the vinyl when removing and replacing it before and after play. In contrast, most audiophile LPs are packaged with poly lined inner sleeves, which include a sheet of poly lining to protect the vinyl from getting damaged and for safer storage. Mofi refer to their version of these as 'rice paper inner sleeves', which are also now available in packs of 10, 25 and 50 so that you can replace cheap inner sleeves with these superior replacements.”

Audiophile Labels

Mobile Fidelity Sound Lab (MFSL)

Mobile Fidelity Sound Lab (MFSL or Mofi) was one of the first companies to release audiophile records in the late 1970s. Denoted as 'Original Master Recording' due to the mastering from the original tapes at half speed, Mobile Fidelity went through several periods as a company, which is reflected in the dates of their releases. However, the philosophy of releasing the best possible sounding releases has remained, as has the company's dedication to presenting luxury packages that include original album artwork and sleeve notes wherever possible.

The earlier releases from the 1970s and 1980s, were pressed on 'super vinyl', which was standard weight (as most audiophile releases during the period were), but was an extremely pure vinyl produced by JVC in Japan, so pure in fact that it is translucent

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com when held to the light and feature 'an extraordinarily quiet playing surface, extreme durability and a lifespan many times exceeding conventional pressings'. In 1979, Mofi released their LP master of Pink Floyd's 'Dark Side of the Moon' which was a huge seller and became the benchmark hi-fi system test LP for years to come. Following this release, Mofi started to release further releases from 1980 onward. These earlier pressings have some of the most quiet surfaces available of any audiophile LPs. In fact, many near mint and mint examples have next to no surface noise and the level of resolution is incredible. Many releases from this period often sell for high sums second hand, but they are still usually the best sounding releases of the album in question available and likely to rise in value in future, thus also being an investment to some buyers. These releases were mastered by Stan Ricker and Jack Hunt.

Mofi also released three now legendary LP box sets. The first released in 1982, 'The Beatles Collection' is legendary as being the best sounding release of the fab four's albums ever available. The second released in 1983 was 'Sinatra,‟ a collection of his best albums from the Capital label years. The third released in 1984, the 'Rolling Stones Collection' was a collection of their first albums, none of which was released separately (only 'Some Girl's and 'Sticky Fingers' - two of their later albums, were released separately by Mofi). Each box collection is expensive to obtain, but are worth every penny and are arguably three of the best audiophile collections ever released and were all individually numbered. These box sets also included the 'Geodisc' which is arguably one of the best cartridge alignment tools available, but is now available from Mofi and is in store. During this period, they also released several UHQR (Ultra High Quality Records) titles which were pressed on 200 gram (200g) vinyl and marketed as sounding better than their standard counterparts. They also released some cassettes during this period using the same mastering processes, but these are rarer and arguably less desirable now than the LP releases.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

The next wave of releases came in 1994 and were referred to as the 'Anadisq' series. These used a different vinyl compound and were released on heavy 200 gram (200g) weight vinyl and mastered using the 'Gain system'. These releases were also all individually numbered.

The original company folded in 1999, but was resurrected by Music Direct and is now releasing audiophile LPs and CDs again. It‟s debatable whether the newer LP releases equal the quality of the earlier releases, but the company still follows the same 'Original Master Recording' philosophy. These newer releases are mostly released on 180 gram (180g) weight vinyl and include some 45rpm releases.

Classic Records

Classic Records are a recent US audiophile label dedicated to producing high quality new LP pressings. Each release is mastered at half speed from the original master tapes using an 'all-analog mastering process' which also uses tube amplification at every stage of the mastering process. The majority of their releases are pressed on high quality 200 gram (200g) weight vinyl, which has virtually no surface noise and sonically superior dynamics. Classic Records are also highly dedicated to releasing each album with the original artwork, LP labels and any other materials which were included with original pressings. Their dedication to this is shown in the quality of the each release, with albums having thick, heavy duty sleeves, and many being presented exactly how they were when originally released. For example, Led Zeppelin's III has the original wheel cover, 'In Through the Out Door' includes the brown paper bag cover, and booklet, The Who's 'Tommy' includes the original booklet and tri- fold sleeve. In short, Classic Records have aimed for each release to be a sensory experience, and as close to the experience of buying the original LP as possible. As a result, their releases allow

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com you to enjoy the experience of buying your favorite albums over again, being in sight and touch exact replicas of their original counterparts, but with the advantage of the quality of the LP included, which in many cases far succeeds the quality of the standard LP release.

Classic Records are critically acclaimed for the sound and presentation of their releases, many of which are now considered to be the definitive releases. These include the Led Zeppelin catalog, which sound of which is breathtaking, The Who catalog, and many more. They are also due to release the Beatles catalog in late 2007 or 2008 - so we will get to enjoy these albums once more and see if they equal or exceed the quality of the Mobile Fidelity releases!

Nimbus Supercut

Nimbus Records have achieved somewhat of a legendary status within the audiophile circle for their 'Supercut' releases, which were only available by mail order through the Hi-fi magazines 'Practical Hi-fi' and 'Hi-fi Today' in the early 1980s. Nimbus mastered each release from the original master tapes using the best available mastering processes. Infect, Nimbus employed many techniques for each release that were not commonly used. For example, generally when bass moves from channel to channel on an LP, groove modulation is employed to reduce the movement of the stylus and this results in this bass being centered more over both channels. Most audiophiles would argue that this - and in fact anything, which changes the original recording should be avoided although this is common practice on most LPs. For example, the release of 'Joan Armatrading' had bass moving from channel to channel in several places, but Nimbus did not limit this, resulting in an outstanding pressing. Nimbus also had the ICI company produce an extremely pure vinyl for the LPs, which has amazing frequency reproduction and

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com is virtually noise free - similar in quality to the 'super vinyl' used on earlier Mofi pressings. Due to their rarity and small pressing quantities, they are often more expensive than audiophile LPs from other labels, but the sums paid can be justified by the outstanding quality of the pressings and the fact that they tend to rise in value over time and as such are deemed as investments by some audiophiles. Other releases included Pink Floyd's 'Wish You Were Here', Beatles 'Sgt Pepper' and Wings 'Band on the Run' and many other excellent titles.

Nautilus

At a similar time to the original Mofi LP releases, Nautilus released a comparatively smaller - though excellently mastered number of audiophile LPs in their 'Superdisc' series. Most of these were mastered at half-speed and pressed on high quality standard weight vinyl. These are also rare releases and were released in limited quantities. Nautilus also released some direct to disc releases.

CBS Mastersound

This label released a large range of half speed mastered LPs during the 1980s, all mastered on excellent quality vinyl and using the best available mastering techniques. These releases also include a 'CBS Mastersound Information Sheet' (where still included), detailing the mastering processes used. These releases are arguably sonically equal to many of the earlier Mofi releases, but often do not command such high sums and as such are usually quite a bargain. The exceptions are for some of the releases which are outstanding such as Pink Floyd's 'Wish You Were Here'.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Sheffield Lab

This label released a range of audiophile LPs during the 1980s, many of which were mastered direct to disc.

Pure Pleasure

Pure Pleasure are quickly gaining an excellent reputation for releasing excellent sounding jazz and blues releases on 180 gram (180g) vinyl, many of which are mastered from the original master tapes.

Sundazed

Sundazed are dedicated to releasing older rock, folk and psychedelic albums, which have included much of the Bob Dylan catalog (in original mono), the Byrds catalog (also original mono) and many more. Each release also includes faithful reproductions of original artwork and LP labels and are pressed on high quality 180 gram (180g) weight vinyl. The Bob Dylan releases are arguably the best sounding versions of these albums available, each having a much fresher sound than on standard pressings - which in some cases can be surprising, for example with 'Highway 61 Revisited', on which 'Like a Rolling Stone' sounds much fresher than most other versions available.

Warner/R.T.I.

These releases are mastered at half speed, often by some celebrity mastering engineers, including Stan Ricker - who mastered many of the earlier Mofi LPs. They are pressed on high quality 180 gram (180g) weight vinyl and are always presented with high quality thick artwork sleeves and LP labels.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

DCC

DCC released a small number of audiophile LPs, most notably the Doors catalog, which were arguably the best releases of their albums ever available, many of which were mastered by Steve Hoffman.

Japanese LPs

Japanese LPs are often highly regarded for having excellent sound quality and for being produced on excellent quality vinyl. They can usually be identified by an 'OBI strip', a long piece of paper around the cover with the album details in Japanese. Some releases are also pressed on red vinyl, which some argue has greater sonic qualities than standard black vinyl, though this is debatable and arguably depends more on the actual quality of the vinyl used.

Conclusions

Audiophile LPs are generally more expensive as a rule of thumb in comparison to standard LP releases, but as the saying goes, you get what you pay for. The greater care, craftsmanship, presentation and most importantly the sound quality of audiophile LPs mean that you are getting something truly special, that will allow you to get the very best out of your music system, and enjoy music the way it was recorded and supposed to sound. Many people who head audiophile vinyl are surprised by the details and sounds they can hear on their favorite albums that they have never heard before and the entire experience is like buying the album for the first time and enjoying how good it sounded when you first heard it. What's more surprising though to the majority of converted vinyl enthusiasts is how much better audiophile LPs can sound in comparison to their CD counterparts,

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com making a real case for vinyl as a format and a luxury for any high end music system that deserves only the very best.

I do own several „audiophile‟ records and the sound is amazing. I think that this writer captured the true meaning of what an audiophile record is, I hope that you found it as compelling as I have.

Audiophile Awareness

This section is new (as of February 2008) because some readers have asked why I do not address specific issues with regard to turntable set up. This is a vital part of record collecting and the experience of listening to and enjoying our vinyl. But the fact is, I am not an expert in this area and I think it is best left to an expert to detail the elements that go into turntable set up.

That said, I have been in contact with an expert, his name is Michael Fremer, (http://www.musicangle.com). Michael is the senior contributing writer to Stereophile Magazine and an expert in all things analog. So I feel it is imperative to learn about a sensational DVD (21st Century Vinyl: Michael Fremer's Practical Guide to Turntable Set-Up) that Michael has created and to summarize what is on the DVD and what you can learn, I have gotten permission for the reprint of a review written by Jeff Day. (reprinted by permission from http://www.6moons.com):

Michael Fremer's DVD is available at most audiophile websites like Acoustic Sounds, Music Direct, Elusive Disc and others like them. If you've been reading about HiFi for any time at all, you've no doubt learned that Michael Fremer is the most visible analog man in the HiFi press. Michael also has his own website devoted to music called the Music Angle which you'll want to check out. For those few who may not know, Michael writes for an audio print magazine called Stereophile. Stereophile has done an excellent job of covering the breadth of the HiFi hobby for many decades.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Michael's DVD on turntable setup is obviously a labor of love and contains lots of good information on tweaking a vinyl system for optimal performance. The DVD is arranged into six video chapters and contains over three hours of content: Why We Love Vinyl, Mysteries of Mastering, Tools of the Trade, Setting up a Pro-ject RM-5, Setting up a VPI Scoutmaster, and Final Words. The DVD even includes a PDF article that Michael wrote on turntable setup. It covers many of the topics in greater detail and provides a tutorial which you can print out to reference while setting up your turntable. There's lots of good information in the article that I found to be very informative and helpful.

Why We Love Vinyl Let's take a look at the six video chapters first. Why We Love Vinyl is an introduction to the joys of the vinyl medium. You'll find Michael to be a witty and funny fellow who has been enjoying vinyl for nearly fifty years. You'll also get to see his personal record collection. It's breathtaking! You know how a library looks with aisles and aisles of books? That's Michael's record collection. If the Smithsonian ever loses their collection, he should be able to bail them out in fine fashion. In this chapter, Michael gives a brief overview of the dominant forms of recorded music with their up- and downsides: 78s and reel-to-reel tapes, cassette tapes, the four & eight track cassettes, CDs and of course LPs. Michael goes through an interesting array of LPs and their charms but I'm not going to tell you about that in detail. I promise you this: one of those album covers will earn Michael's DVD an R rating from the prudes among you. But you'll need to get the DVD for yourself to become an amateur censor. Mysteries of Mastering In Mysteries of Mastering, Michael visits mastering engineer George Marino of Sterling Sound in New York City to show us how records are made. George and Michael talk about how in video production there are color standards and the like to work from. In audio, there are no such standards. The mastering engineer has to make artistic choices that will portray the music in the best possible way to fulfill the musicians' intent for their music. George gives a nice overview of the mastering suite and how his equipment is used during the mastering process. I particularly enjoyed this discussion. It's worth the price of the DVD alone.

Tools of the Trade In Tools of the Trade, Michael presents an overview of the tools you'll need to set up your turntable, from the least expensive to the very expensive in each category of tool. Michael stresses that you don't have to spend a lot on 75

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com tools to perform a good setup on your turntable. "Don't get crazy, just set it up and enjoy it!"

Setting Stylus Pressure: A stylus pressure gauge is the first thing you'll need and there are decent inexpensive ones to choose from like that venerable old Shure standby or snazzier and more expensive ones from Micro-Tech, Arm Load Meter, the Cartridge Man, May Audio or Wally Malewicz's scale. For most people, a digital scale is the way to go for ease of use.

Setting Horizontal Cartridge Geometry: Next up is setting the horizontal geometry of the cartridge. You can use the paper setup template that comes with your tonearm -- it'll work just fine -- but stay away from the fixed size metal protractors because their 'one size fits all' approach doesn't work all that well. Each arm is different so each alignment template is unique to that brand of arm. If you want to go for the precision approach, the Wally Tractor is made custom for your tone arm and Michael feels it's well worth the money.

Michael says there are a couple of other tools you should have on hand to make your life easier while setting up your cartridge. The first is a good light. Michael fancies 'The Little Light' and recommends that you get one. Michael also recommends getting a good small magnifying glass with 4-6 times magnification.

Setting Vertical Tracking Angle: Michael includes an interesting discussion on vertical tracking angle (VTA) where he describes how it takes a lot of movement at the back of the arm to have any real effect on the VTA but that a small change in stylus pressure will make a significant change in the stylus rake angle which is closely related to VTA. The lesson is this: if your tonearm doesn't have easily adjustable height, don't sweat it. You can accomplish essentially the same thing by changing the stylus pressure to alter the stylus rake angle. When setting arm height, the best place is to start with the arm parallel to the record because that's how most cartridge designers design their cartridge to track correctly. You can set your arm to parallel a couple of different ways. Michael shows how to use a piece of a ruler to set the VTA very easily and for very little money. If you really want to be exact, you can use the Wally blade. Michael also recommends that you get a pair of small needle nose pliers to install or remove the tonearm leads from the cartridge

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com pins.

Setting Anti-Skating: The next topic Michael covers is anti-skating. Skating is the force that causes the arm to pull towards the center of the record. The anti-skating adjustment of the tonearm corrects for the skating so that the stylus is centered in the record groove rather than drifting one way or the other. Michael covers the method most commonly used on tonearms to correct for skating, the weight and string method. He also introduces Wally Malewicz's method for setting anti-skating, which he considers to be the best. Michael says that for most arms there's a little sliding scale and if you set it to the same number as the tracking force, you'll be all set.

Setting Azimuth: The next aspect of setup covered is azimuth. Azimuth has to do with the perpendicularity of the stylus to the groove. Setting the azimuth correctly minimizes crosstalk between the channels, which affects soundstaging, imaging and how big of a picture you're going to get. Michael describes a couple of ways to do this: you can do it by eye, you can put a mirror on your platter, or you can be really accurate and use a voltmeter to measure the amount of crosstalk in each channel (Michael's preferred way).

Setting up the Pro-Ject RM-5 Michael uses the example of setting up a Pro-Ject RM-5 turntable that just arrived in his mail with a Blue Point Special Evo III cartridge to give you a feel for how to get started from analog ground zero. When you buy a new turntable and unpack it from the shipping container, you'll need to follow the manufacturer's directions for initial setup, which with the RM-5 starts with removing the transport screws that protect the motor during shipping. After having done that. Michael recommends that you remove the felt mat so that you can set up the cartridge without having to worry about snagging it on the felt, which could destroy its fragile cantilever. Before you do any more 77

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com with the table, level it with a bubble level on the plane of play where the stylus would move across the surface. The next step is really important says Michael - using small rubber wedges to secure the platter so it won't move as you continue the setup.

After Michael has completed the initial setup of the table to prepare for cartridge installation, he proceeds to mount the cartridge and attach the tonearm leads to the cartridge pins. Michael includes some nice tips that I think will make this an easier process for the ham-fisted among us. The next step is adjusting the vertical tracking force of the cartridge, which is accomplished via the tonearm's counterweight. Michael likes to first adjust the counterweight so that the arm floats and then he approximately dials in the tracking force per the cartridge manufacturer's recommended value before taking on the next task of setting the horizontal geometry with the supplied template. After the horizontal geometry is dialed, Michael goes back and dials in the correct tracking force before moving on the adjusting the anti-skating. The next step in the setup process is setting the vertical tracking angle and stylus rake angle (VTA/SRA). Michaels says that some people think setting VTA is nonsense because you have to change the arm-post height 4 mm to get a one degree change in VTA - that's a lot. Michael says not to sweat the VTA too much, just make sure it's in the ballpark. From VTA Michael moves to setting the azimuth. Michael demonstrates a couple of methods for doing this such as using a mirror or a voltmeter and includes detailed instructions on the PDF file included with the DVD. That's it! Now you're ready to play a record! Wrapping up While I will not describe it here (you'll have to get the DVD for that treat), Michael goes on to set up a Rega P5 and VPI Scoutmaster turntables to provide a couple of more examples from which to learn by observation. The combination of video and PDF files provides a wealth of information on turntable and cartridge setup that no analog lover will want to be without. The PDF file contains a great deal of useful information on turntable setup and record cleaning. I learned a lot about turntable setup from the contents of Michael's DVD and I plan to use my newfound knowledge in setting up turntables here at the moons. I highly recommend Michael's DVD to anyone interested in LP records and turntables. It's obviously a labor of love and easily worth its modest asking price. Many thanks to Michael for going through all the work to put together this fine resource and share his extensive knowledge and experience with the rest of us!

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

http://tinyurl.com/6xtp3s 21st Century Vinyl: Michael Fremer's Practical Guide to Turntable Set-Up (2006)

The DVD is an amazing look at the finer elements of turntable set up. Michael also talks about cleaning vinyl (which I address in a later chapter) in great detail and it is obvious that his methods and tips can be helpful to even the most experienced of collectors. Michael has also released another DVD for 2009 -both are well worth the price of admission! It's a Vinyl World After All (2008)

http://tinyurl.com/atr49l

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Types Of Music

But, what type of music should you collect? Obviously, this is a matter of personal preference. Some love country music and some acid rock. Some love the album format, while others prefer the 45. But there are enough genres of music and sizes of records out there to keep any collector busy for eternity.

Some collect EP‟s, 45‟s, 78‟s, Punk, Jazz, Funk, Reggae, Folk, or Comedy records. Additionally, a collector could look for albums by Rap artists, Blues records, Soul Music, “indie” music, Gospel or Christian Music. You could also collect Psychedelic Rock albums and covers, Doo-Wop singles, Garage Band Music, Heavy Metal, Spoken Word, Classical records, Compilation recordings, colored vinyl, picture discs, imports, promotional copies, demos or Soundtracks. I‟m sure I left some out, but you get the idea; there is something for everyone. However, you don‟t have to limit yourself to one specific genre. You can do what I do and collect them all.

You could also collect specific labels or record companies. A fellow collector is partial to Reprise Records and RCA Victor and amassed quite a collection in that specific area.

Then there is what I like to call the “specialty markets.” This would include the Beatles, Elvis, the Rolling Stones, Bob Dylan, the Grateful Dead, Beach Boys, Nirvana and Jimi Hendrix, to list a few. These artists are in a league of their own because not only are some of their record albums highly collectible but there is a premium on the memorabilia as well. This is not to say every record by these artists is super valuable, on the contrary, it is just that these artists seem to command more attention. But are there some genres of music that are worth more than others? I would say definitely, yes. Besides the specialty markets, history plays an important role in determining the worth

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com of a particular record. Hillbilly records (roots of country-1930‟s and 1940‟s), obscure Motown records, Rockabilly from 1948- 1955, as well as records from the roots of rock and roll are all highly sought after and collectible. I have also seen a term used for soul music called “Northern Soul” and it at the time of publish, it is a hot commodity in the vinyl collecting world. Additionally, many R & B albums from the 1950‟s suffered from poor marketing and distribution and consequently can fetch $1000 or more per record.

But if you are a younger record collector, you can see that this author shows his age. What about the vinyl records from 1985 to the present, aren‟t they collectible, don‟t they have value? Of course they do and I‟ll tell you why. Artists like Nirvana, R.E.M., Pearl Jam, Mudhoney, Soundgarden, Metallica, Red Hot Chili Peppers, Madonna and many, many others released vinyl records. Some were released with collectors in mind, being released as “limited editions,” such as Metallica‟s “Vinyl Box Set” (R1-76156); which consisted of 5,000 numbered copies of their first four albums pressed on two records each. Some vinyl releases contained “extra tracks” that the CD version would not include, again to appease the vinyl lovers and make them even more collectible. In 1998, the Dave Matthews Band released a vinyl record called “Before These Crowded Streets” (RCA 67660) which you can pick up for around $200 in near mint condition.

Children‟s recordings by Walt Disney or Sesame Street characters have their own unique market and can be of some value to certain collectors. There are some Soundtrack‟s from movies and Broadway musicals that have value and have their own collector books available with their own price lists. But, one must remember that there is not a huge market for Broadway shows that were released in the 1950‟s.

Jazz recordings have become an intriguing and upcoming market, with demand rising steadily in the last few years. In fact, there are specific books for collectors to determine the value of jazz

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com records. Additionally, there are price guides for collectible 45‟s, record picture sleeves, R & B, Alternative Music, British Invasion, Beatles‟ recordings and memorabilia, Christmas records, Elvis records, children‟s records…you get the picture.

But you must remember the value you get for any specific record is only what someone is willing to pay for it. Additionally, a record doesn‟t have to be old to be valuable. Somebody has to want it. And just because a book tells you a record may be worth sixty dollars in near mint condition, and you decide to sell it, you then must try to get that price for the album and trust me; there is a lot of haggling going on at these record shows and auctions. This brings us to our next and most important element of record album collecting-grading the record.

Added in late November of 2008:

Learn more about specific record labels and music that have been known to fetch great prices at eBay; this report is another great resource to any record collector!

You'll find out:

- which classical labels you should keep an eye out for and what specific thing to look for on the label of each. - what local treasures are lurking right under your nose that are sought after in the rest of the world, and why this can mean money in the bank for you. - which famous artist designed album covers in his early days, and the big bucks they're bringing in now. - the most consistently valuable jazz label. - What two cities to look for on the most valuable blues labels (no, it's not New Orleans). - the rule of thumb to find rap records worth reselling. - which literary figures are going for big bucks on "Spoken Word" records on eBayville. - places to look for records, and where to sell them (not just on eBay).

Plus: things that affect record values, myths and truths about records, many photos of hot- selling albums, prices from the top down to $100 for Rock and Pop, and much more.

This special report is only $19.95. Finding even one of the records of the type listed in this report will more than pay for it. Just click the link below, and you'll be directed to a download file, so you can start your record buying and selling fun tomorrow.

http://tinyurl.com/6bosvn

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Grading Vinyl Records

First and foremost, we must consider the condition of your vinyl record album. Condition is everything, because condition will ultimately decide what you will pay for an album or conversely, what someone would be willing to pay you, if you decided to sell the record.

But it is not only the condition of the vinyl record that determines the price of an album. The condition of the album jacket must be taken into consideration as well, as this has become a market in itself. People have been willing to pay money for the album jacket, (remember the art reference earlier) the liner notes, inserts, posters, sleeve or anything else that came with the release with no regard for the record itself (they may already own a good copy of the record, but a poor quality album jacket).

How you grade your record albums is the single most important factor in any record collection and one that is the most subjective. What may be a mint or very good record to you may not be to the more experienced record collector. In an ideal world, everyone would be able to play and test every record before they would buy it and everyone would agree on a grading system. But, alas, since that is both impractical and impossible, records are usually graded according to industry standards.

Now, just what are the “industry standards”? While shopping online for vinyl you may encounter web sites with their own way of grading a vinyl record. Some will use the standard grading terms like mint, very good or excellent, good, fair or poor and then put a series of plus or minus signs behind them. To me this can get quite confusing. Others may incorporate a numerical value ranging from 10-1, with 10 being the best or mint. It is imperative that you understand how the merchant or individual grades the records before you decide to make a purchase from

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com them.

The Goldmine Grading Guide is one grading system that is widely utilized. Below is a summary of the Goldmine Record Grading System and it is what a lot of people use. (Refer to the Official Goldmine Grading System if you need more information regarding the grading and valuation process for records.) This is found in the Goldmine Record Price Guides For a listing of price guides:

http://tinyurl.com/2jgpxq

(Always View and Grade Records with Proper Lighting)

MINT (M)- perfect vinyl record album, possibly never opened (still sealed, but even that can be deceiving as it is easy to reseal them), no writing on the label or fading, no wrinkling, no color-wear. Be very cautious when buying a record that someone rates as a “mint” record because it is my opinion there is really no such thing, every record has some flaw to it; even if it is brand new. Even an old record album, still sealed, may be warped or could even skip when played.

NEAR MINT (NM)- almost perfect record-like you just brought it home from the record store, this record should have no signs of wear, maybe played once or twice, the album cover or jacket should be in pristine condition with no creases, folds, splits or defects and have all its original applicable inserts. Record album should play with no background noise and certainly not be scratched or warped. This is also the highest price listed in all Goldmine price guides. (It is important to note that this is not a time line sliding scale, meaning that because an album was manufactured in the 1950‟s, does not mean it gets special consideration because of its age. It must “stack up” to or meet the same standard as the album made in the 1990‟s and that is why these record albums command such high prices; there just are not too many of them around.)

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

VERY GOOD PLUS/EXCELLENT (VG+/E)- (generally worth 50 percent of the Near Mint value) you will find that most record collectors‟ collections will fit into this category because they went to great lengths to preserve the vinyl, the album jacket and its contents and because this is what they are most likely to purchase (assuming a near mint copy was not available or just too expensive). The record should have a minimum of visual (slight ring wear) or audible imperfections that do not detract from the sound quality of the record. The album cover may have some slight wear, some turned corners, creases, or slight seam split. Slight warps that do not affect the sound are OK and acceptable to most collectors. In short, this is a record you would be comfortable paying a premium price to acquire, taking all things into consideration.

VERY GOOD (VG)- (generally worth 25 percent of the Near Mint value) The difference between VG and VG+ is subjective but suffice to say that VG is a step down from VG+ in that the imperfections are more pronounced (groove wear, ring wear) and not only can you see the difference you can hear the difference (and in my opinion, that is the ultimate test). I find that a lot records that fall into this category were well-taken care of, but you must remember the reason these people purchased the record in the first place, not so much as a collector‟s item, but to be played; hence the record and the album jacket will show signs of human handling or the occasional beer spill.

GOOD (G)- (generally worth 10-15 percent of the Near Mint value) obvious signs of wear and scratches obviously that whoever owned the record did not take care of it. It will play without skipping, but you will probably pass on adding it to your collection. Why? Unless it is an album you have been searching for or you just have to have it (maybe you knew some band member), it is generally not worth that much. You do have a decision to make if you know that it is a rare record, but it may be best to wait until you can find a better copy of it.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

There are a couple of other ratings to consider FAIR and POOR but unless these albums are the rarest of the rare, it is best to shy away from these, as they are best suited for the trash. It is my experience to not buy anything lower than a record rated Good because 1) of the low resale value of the record and 2) the quality of the sound, which is why I buy the record in the first place.

But for some who invest in rare record albums and hard to find record labels, a good rated record is OK to add to their collection because that might be all that there is left to choose from. Scarcity plays an important role in deciding whether to add that R & B record from the 1940‟s to your collection, if the supply of records available is limited; you may have to go with a lower grade than you normally would. Ultimately, it is up to you to decide what you are willing to sacrifice in both dollars and sound quality.

I feel it necessary to share another widely accepted grading scale that is used by buyers and sellers worldwide. It is my belief that the term “industry standards” is best described by Jerry Osborne‟s grading scale. Jerry Osborne has been a pioneer in the record collecting hobby and has written over 130 record price guides and in my humble opinion is the “Godfather of Record Collecting.” We will talk more about him in detail later.

But, first, let us talk about the record grading again. The Osborne Grading System is as follows:

Mint: Absolutely perfect, nothing less. To allow for tiny blemishes, the highest grade used in the Osborne record guides is described as near-mint

Very Good: Minimum visual or audible imperfections which should not detract from your enjoyment of owning them. This grade is half way between good and near-mint

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Good: Item may be good enough to fill a gap in your collection until a better copy becomes available-will show definite signs of wear and tear, probably evidencing that no proper care was given to the item. Even so, should play without skipping.

Osborne warns that visual grading may be unreliable. Accurate grading may require playing the record (play-grading). Be honest about condition and apply the same standards to the records you trade or sell as you want one from whom you were buying to observe. Then use the following formula to determine values on lesser condition copies:

For Very Good condition, figure about 25% to 50% of Near- Mint range of price given in Osborne Record Guides

For Good condition figure about 10% to 25% of Near-Mint price range given in the Osborne Record Guides

The Osborne Record Guide then discusses another recommended grading system and one I think can best describe the condition of a vinyl record. Here is the 10-Point Grading System as seen in the Osborne Record Guides:

10: Mint 9: Near-Mint 8: Better than VG but below NM 7: VG 6: Better than G but below VG 5: Good 4: Better than poor but below G 3: Poor 2: Really Trashed 1: It hurts to think about it

Now, I wrote about these two methods to illustrate a point. As I stated earlier, grading vinyl records is very subjective and until the industry decides on one across-the-board grading system,

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com grading vinyl will remain a constant source of debate in the hobby as well as buying and selling records. Use the grading system you are most comfortable with and learn to adapt if there are other kinds of grading systems in place.

But, I guess when it is all said and done; the only true way to “grade” a record is to play it. You can look at it all you want and see the physical flaws, but until you play the record, you can‟t know what problems will arise form these imperfections until you hear the music.

I want to share an interesting experience I had recently involving a purchase of a 45 record by the Yardbirds. I was browsing eBay one night and decided to purchase a record that the seller rated VG+. I paid the $3.00 for the record, it was shipped, and when I opened the package, was I disappointed. I would have never “graded” that record a VG+; I would have graded it at G, if that. So I emailed the seller and told them of my disappointment and we exchanged some angry words. He told me to play the record. I did and it is then I decided, yes the seller was right in his grading assessment. The record played very well and did warrant the VG+ grade that he had given it. In fact, after several emails we are still in contact today, swapping collecting stories, and becoming e-friends. So, I learned a very important lesson about the grading process and one that I want to stress here. There are two ways to grade a record, visual grading, and play grading. But, we could also include a third “grade”....trust. You have to trust the source you are buying your vinyl records from. This is even more critical when dealing with online auctions and merchants.

There is another factor to consider when buying old record albums and that is- the sealed album. They tend to bring higher resale prices because of the obvious- they have never been opened. However, take into consideration that they may have been re-sealed; the record may not be in mint condition (even though it may be 20 years old.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Record Guides

As collectors, buyers, or sellers of vinyl, we put our trust in the record price guides that are released yearly. This gives us an idea of what to pay for a specific record or, conversely, what to charge, if we are selling an album. The guides supply us with updates on trends in the industry, what genres are “hot” and overall record prices. Some collectors use Goldmine Price Guides, while others swear by Jerry Osborne‟s Record Price Guides. I will not get into the debate on which one you should use, that is like me telling you which kind of car to drive. It is a personal choice.

There are specific record price guides for Beatles‟ records, Elvis records, comedy price guides, Christmas albums and compilations, alternative music, country & western, 45's, 78's, R & B.... the list seems endless. The price of records in the guides are dictated by current trends in the marketplace, auction selling prices, artist‟s deaths, overnight stardom, private sales, information supplied to the publishers of the guides from dealers and collectors, online record site sales catalogs, record conventions and many other variables. In the case of Jerry Osborne‟s Record Guides, they use the criteria listed above and then take the overall average price to develop their price to list in their record price guide for a particular record, thus ensuring the greatest possible accuracy.

But there is a master flaw with all record price guides regardless of the publisher. They are often outdated by the time they go to press. And because the vinyl record collecting market fluctuates so much, Osborne Enterprises and specifically Jerry Osborne, have done something remarkable. Using the technology available today, Osborne has created a new service called CYBERGUIDES, ensuring that anyone who signs up for the service will never have to use an out dated record price guide again. To find out more about this great service go to: http://tinyurl.com/2wz4gg

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Now, as a record collector, I am ecstatic about this service. Sure, I will still have the published guides in book form, they are portable and great to read and look at.

But, when I want the most up to date record prices that are available, I just go to my computer and my Osborne Cyberguide, which is updated on a weekly basis. You see, each day, Osborne Enterprise revises, corrects, and updates the database and every weekend Cyberguides is delivered via email to your home. You then have the most up-to-date record price guide on the planet!

Rockin‟ Records, Jerry Osborne‟s newest (2008) Record Price Guide is loaded with the best collector information with over 1000 pages and has prices for over one million records. It is regarded in the record collecting industry as the best available guide and is the one that is accepted by most major insurance companies. (as of Feb-2009 there will be a new edition coming very soon)

Rockin‟ Records is the most comprehensive guide to date with over 56,000 different artist sections and spans over 100 years of pop, rock, country, jazz, blues and more from 1901 to 2006. No guide includes as much rare soul and pre-war blues, both hot commodities in the vinyl collecting world. They even have a section that will help you appraise records that, for whatever reason, do not appear in the guide. To pick up your copy of Rockin‟ Records: http://tinyurl.com/59d269

As I write this short ebook about vinyl record collecting, I have to think about the history of collecting vinyl. No one has done more for the hobby than Jerry Osborne. For those of you who do not know who he is, let me introduce you to the “Godfather Of Record Collecting:”

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Jerry Osborne

Jerry Osborne (www.jerryosborne.com) has written more than over 130 record price guides and continues to add to that total. He has also published three collector news and marketplace magazines “Record Digest,” “Music World,” and “DISCoveries.” He is highly recognized in the record collecting industry with major coverage in magazines and newspapers including: “USA Today,” “People Magazine,” “Reader‟s Digest” and “Cashbox” to name just a few.

Mr. Osborne has also been a guest on many radio and TV talk shows to discuss record collecting. Shows such as “Good Morning America,” “Today Show,” “The Nashville Network,” among others, have all shared Jerry‟s company.

He was also handpicked to write the introduction for “The Archives Of Graceland” (the official auction catalogue). He and Sun Records founder Sam Phillips are named “distinguished contributors.” This honor reflects the amount of respect Jerry Osborne has earned throughout the years in the industry.

Jerry Osborne is also known as “Mr. Music,” which is a popular weekly newspaper feature distributed to papers nationally by World Features Syndicate, where he answers reader‟s questions about music, records and collecting.

There are so many more accolades and accomplishments to list, but clearly, no one has done more for the hobby of collecting vinyl records than Jerry Osborne.

A side note, I have just be named a moderator for the forum that is run by Jerry Osborne. My nickname is fonzzz (an old nickname from high school) and I am often seen posting about album cover art, vinyl records and I post the column “This Date In Music History” every other day. The forum is located here:

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

http://www.jerryosborne.com/cgi-bin/Forum/YaBB.pl

Stop by, sign up and say hello to your fellow vinyl lovers and collectors!

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Cleaning Your Records

Now, is it possible to take an old dusty record album and clean it so it plays to your satisfaction? A lot depends on its age, just how bad of shape it is in, your preferred method of cleaning and of course, your sound system.

Ask any professional record album collector or even the guy next door who has a record collection about the best way to clean an old record and you might get two different answers. But one thing is certain-you do not have to spend exorbitant amounts of money on expensive record cleaners and gadgets. That being said, there are some record cleaning products on the market today that do an outstanding job and it is a matter of personal preference as to which method you employ to clean your vinyl.

I have found several web sites that explain various ways of cleaning vinyl records. I found them very useful and informative and thought you would as well: http://tinyurl.com/2y9r2a http://tinyurl.com/6yrg84 http://www.garage-a-records.com/nitty.html http://tinyurl.com/yqx92d http://www.gcaudio.com/resources/howtos/recordcleaning.html http://news.cnet.com/8301-13645_3-9969495-47.html

I have looked at the “vacuum type” record cleaning machines and I‟ll keep my money in my wallet, I have my own system. Everyone has their own opinion on the best methods and I will share a simple process and what has worked for me throughout

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com my years as a record collector.

First, remember that unlike CD‟s, vinyl records have no coating that protects them from the elements (dust, humidity, fingerprints, oils from your skin, static electricity). Handle your records like you would a glass figurine, being extra careful never to touch the grooves. Dust is one of the record album‟s worst enemies and you must clean your records before and after you play them. Before playing any record, you must wipe it with a moist antistatic cloth. Additionally, there are some nice inexpensive record album brushes on the market, which do a great job of removing the dust particles from the playing surface. There are also some ideal felt brushes to lightly clean the grooves. Furthermore, I have seen advertisements for “record cleaners” and it is my advice to stay away from these products, as some could actually be harmful to the type of record you are cleaning. Never use an alcohol-based fluid on a shellac- based record (78). However, it is ok to wash your record. Let me explain.

This is a delicate procedure and can be a bit time consuming but is well worth the time invested. You must be careful not to get any water on the label (it may run or peel). I have found that distilled water (you must use distilled water, ordinary tap water has too many harmful chemicals and additives), mixed with a little bit of Ivory dish soap works wonders for removing dirt and dust from older record albums. I have also used the water I get from my de-humidifier; it is de-ionized, de-mineralized, and aptly suited for this purpose.

Mix just a couple of drops of Ivory dish soap into a cereal bowl with some lukewarm water. Then, taking a cotton cloth (an old white T-shirt works fine) or even a soft toothbrush, lightly wash the grooves in a circular motion in the opposite direction of the needle flow. If you are doing a 45 record this doesn‟t take too long, but a record album can take awhile; the important thing to remember is to take your time. Do not soak the record, but get it

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com wet enough to remove the dirt and sediment build-up. Next, dry it with another cotton cloth or place the record in a plate rack to dry and you are ready to go; just let the record dry sufficiently before playing. (Never play a wet record!) Be sure to have the proper stylus on your record player and replace it as needed. I want to elaborate just a bit on the turntable and stylus used for playback. Honestly, I am not an expert in stereo equipment and speaker systems and I will not insult you by talking way over your head with technical terms. But, I do know good sound when I hear it. I have a system to suit my needs and hopefully you do as well, but I must stress that you keep your stylus up to date or you could do permanent harm to your beloved record albums. Additionally, the sound quality will suffer if your needle is worn out. Each time you play a record, you are, in a sense, wearing it out. It is imperative to employ the proper stylus for your particular turntable and that the stylus is in the best shape for you to preserve your vinyl records. If you are shopping for a turntable, you can look at my “turntable store” at:

http://tinyurl.com/28jzt4 or try these audio products/places:

http://tinyurl.com/2drvzo

http://tinyurl.com/6xtp3s

21st Century Vinyl: Michael Fremer's Practical Guide to Turntable Set-Up (2006)

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Storing Your Records

Record albums need to be stored out of direct sunlight and away from any heat source for obvious reasons. Warping can ruin a record and its value. Additionally, your records should be kept away from extreme damp conditions (basements). The result could be mold on the record or album cover or inner sleeves causing irreversible damage. Personally, I store my collection in a walk-in closet in custom record racks that I constructed (I bring a de-humidifier into the closet in the summertime to reduce the moisture content in the air to preserve my collection). There are racks and storage bins available at reasonable prices, if you should opt to go in that direction.

There are varied opinions on this, but personally I remove all cellophane plastic wrapping from my albums. I feel that the cellophane will shrink over time, thus warping the vinyl and ruining their value. Additionally, I store my album jackets inside plastic sleeve covers and the record is stored outside the jacket (but inside the plastic sleeve cover) in acid-free heavy paper record sleeves (acidic paper can damage vinyl and labels after prolonged contact in the jacket). This is the optimal method for storage and will help preserve your precious collection.

Never lay your albums on top of each other or store them in that manner. Record albums should be stored vertically and always kept away from extreme heat and cold. There are only two places a record album should be- in their respective jackets/sleeves or playing on your turntable.

I like to store my vinyl records in plastic LP sleeves to protect and preserve the record and the album cover as well. There are many places to find these materials online, but I use and highly recommend www.sleevetown.com because they are service oriented, they have reasonable prices and fast shipping.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Sleevetown carries inner LP record sleeves that are antistatic, fifty micron, high-density polyethylene and are tested with 200 gram "audiophile" vinyl as well as the older and more common LPs. They offer a secure storing space for your cherished vinyl records.

Now you certainly would want to keep the original sleeve the album came in, as some contain lyrics, notes and pictures and could be a part of the collectible portion of a particular album. It is imperative to put your vinyl in an acid-free sleeve, be it, white paper, or antistatic polyethylene because over time acidic paper can damage your vinyl and original labels after prolonged contact with the jacket.

You should protect the outside of your album as well and if you excuse the pun, sleevetown.com has you covered there as well. They offer outer sleeves which will protect your vinyl jackets from dust and other household pollutants (especially smoke). Personally, I like to use the re-sealable outer LP sleeves with clear PolyPro, with a fold-over flap and long-lasting adhesive strip to seal your LP jacket against the aforementioned pollutants. These polypropylene sleeves combine high-clarity heat resistant, moisture resistant and chemical resistant protection for a cost- effective method to safeguard your treasured record collection.

Sleevetown.com also stocks LP "mailers" if you are buying or selling records, 7" record sleeves, 10" record sleeves as well as an assortment of record care products such as record brushes, disc washer, cleaning cloths and much more. If you stop by, tell them you heard of them from collectingvinylrecords.com, I would appreciate it.

To check out Sleevetown: http://www.sleevetown.com/

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

Where To Find Vinyl Records

Over the years I have added record albums to my collection in many ways, from neighborhood garage sales to highly publicized record swap meets and from a number of trusted online sources. But the most important aspect about collecting record albums is to be resourceful.

I once ran an ad in a local paper announcing that I was searching for albums from the “garage rock era” and that produced quite a few responses. But I was able to weed them out, talking to the people on the telephone, asking specific questions about what artists they may have, consequently saving me time going to look at albums I probably would not have been interested in. Some leads were fruitful, some were not, but the point is I was able to add some quality records to my collection with little effort and minimal cost.

Now if I had just put an ad in the local paper stating-Record Albums Wanted, I may have been inundated with unwanted calls, but because I narrowed my search, I was able to find more of what I was looking for.

Another way to find records, is to ask around or the “word of mouth” method. I was talking to my neighbor about my collection and he told me his brother was also a collector and we wound up getting together and trading a few (we both had some duplicates, more on that later) and I actually traded an old accordion (he is a collector and plays) for several 1960‟s albums that I had been looking for, so bartering worked very well in this example. So it is best to let your friends, neighbors, co-workers or anyone who will listen that you fancy collecting record albums and would like to know if they know of anyone who has any. Maybe they were a collector at one time and have lost interest in the hobby and would just like to be rid of them. I have picked up some small collections in this manner.

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

I tend to stay away from the larger “record shows” or record swap meets because the sellers of the records tend to know exactly what the albums are worth and will command top dollar for them. If you are searching for a particular record album and it is a must have, by all means, pay the price, barter or do what you have to do to add it to your collection. But let me let you in a little secret. If you go to record show, and you are just looking to add to your collection- go an hour or two before they close. You can get some great deals because anyone who has ever moved hundreds of record albums will tell you, the less you have to move, the easier it is. So get there late and talk them down a bit and you can add to your collection a little cheaper.

Another reason I stay away from the record fairs or “swap meets” is that the record vendors themselves will go through each others good‟s before the general public gets a chance to and probably snatch up anything that is of any value or especially rare and highly collectible. Additionally, do your homework before the record fair; know what you are looking for and how much it is worth. It might even be a good idea to take a price guide along with you.

Many people take their records to the local charities like Goodwill, Salvation Army, St. Vincent DePaul Society and you can find whole collections if you are lucky. This method, as with all rummaging methods, is hit and miss...but on the right day...at the right time…you can add many treasures to your collection, at a very reasonable price. But bear in mind, some of these records were discarded for a reason, some are just best suited for the trash, however, I still love to look.

A very valuable, but often overlooked resource that is available to vinyl record collectors, are the advertisements in the record price guides. It seems so simple, but the ads are there for a reason and the firms who advertise in the guides certainly know what they are doing in my book-they know there target audience. I have found some nice record shops right in front of my nose!

The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

But my personal favorites are the estate sales and auctions because I seem to have the most luck at these types of locations. I recently went to a local estate auction and because of inclement weather there was a small turnout and I was able to take home five crates of record albums with about 30 albums apiece in each of them for the opening bid of five dollars. I had looked through three of the crates and the other two I bid on just because no one else wanted them and when I got them home I was very satisfied with the results, as my twenty five-dollar investment was worth much more than that.

With the advent of the Internet, there has been an obvious increase in online sales of record albums. It has also had an effect on record prices as well as some records that were thought to be rare are more common than previously thought. All the albums collecting dust in someone‟s closet and thought to be gone forever are now being listed, bringing down the value for some genres of music.

However, the market has evened out somewhat and something interesting is happening. Online auctions have been bringing out some positive effects in values in some areas. Modern jazz sales and demand have increased in recent years, as these vinyl records have been disappearing in large numbers from the record stores and have found their way to the online auction sites.

But it is buyer beware, especially with regard to the online auction sites. Because of grading issues, what may be a quality record to some, may not be quality to others. That being said, it is my practice to be very selective when purchasing my record albums online. I must truly trust the source and that the sources I am buying from comply with the aforementioned grading guidelines before I will make a purchase. I am not insinuating that every record dealer in an online auction is shady; on the contrary, you must find one you trust. Check the ratings of the person, the feedback other buyer‟s have left, for that will give you the best indication of who you are dealing with. Another

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com option is to make a small “sample purchase” from a particular seller to see if what they advertise is truly what they deliver. If you are satisfied with your goods then you could process a larger order for collectible records or memorabilia. If you are interested in checking out what eBay has to offer, approach with caution. Go to eBay here: http://tinyurl.com/5oq5rl

As I researched eBay for this ebook, I wanted to make sure to mention, that although you may encounter some problems, most of the transactions flow smoothly and are done by reputable and honest people. A keen eye and care is definitely needed.

I also happened to find a great, well respected “ebayer” who also operates www.recordsontheweb.com. The owner and operator was gracious enough to speak to me about her business. Laura started selling records online in 1997 after working for many years in radio as a DJ and having a true love for vinyl.

“I felt compelled to open a record store and as a vinyl enthusiast wanted to help people find reasonable vinyl records at a reasonable price,” explained Laura. You can find vinyl at her web site and also on ebay at: http://search.ebay.com/_W0QQsassZlittlelam

She started in the business of selling vinyl records in 1988 near Sacramento, California, running a retail store named “In The Groove Records.” After operating the “brick and mortar” store for more than ten years, she sold her business and has been supplying fine vinyl records online with her web site and as an ebay “Power Seller.” The records are expertly packaged with quick and sent out quickly after each purchase.

I asked her what genre of music sold the best and how she grades her vinyl records.

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

“We carry multiple genres of music including jazz, rock, blues, country, and soul and have over 15,000 records in stock. But I would say that the jazz and rock, along with our great selection of 45‟s from the Motown era are our bestsellers. We grade conservatively according to the Goldmine Magazine Standards and the highest grade we give a record would be near mint (NM),” explained Laura.

For these reasons I highly recommend her web site and ebay store. As a vinyl collector, there is not much more you could want from a seller. The aspect of Laura‟s business that impresses me the most is the 100% feedback rating she has accrued over the years on ebay. I find it remarkable that after literally thousands of transactions, there has not been one dissatisfied customer.

Laura also offers a premium record appraisal service and is interested in buying both large and small collections. Mainly interested in 1950‟s & 1960‟s jazz, blues, rock, soul and country, Laura will travel for large collections (she just recently returned from a trip to Florida).

An online record store I have had success with is www.forevervinyl.com. Forever Vinyl sells quality collectible records at fair prices and has access to or in stock over two million out of print, rare music and collectible records and CDs from around the world.

Forever Vinyl has also developed a record dealer network that works hand in hand with other vinyl and music dealers around the world to find records you've been looking for. They never charge an up-front fee to find a record. With a success rate at finding records of 96% with the normal turnaround time being 2 to 5 weeks, it is a valuable resource for any collector (see the latest article about Scott in the vinyl record appraisal section).

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com

The owner, Scott Neuman, is a vinyl record collector and counts the rare Beatles‟ “butcher block” album among his most prized albums in his collection as well as a “nice jazz collection” from the 1950's.

“I also have some rare acetates from Elvis Presley,” Scott said, “And I remember the first records that I bought were early Motown. I also liked the folk scene, particularly Bob Dylan, Joni Mitchell, and Joan Baez.”

Additionally, Scott feels that there has to be an element of faith when dealing in used vinyl. He prefers vinyl records to any other music format because of the “humanistic feel” that you get with an album instead of “bits and bytes” and also feels that the packaging of records (the cover, liner notes, lyrics, sleeves, picture discs, etc.) all add to the allure of vinyl records.

Another web site I found online for vinyl records (Music Stack) can be found at: http://collectingvinylrecords.musicstack.com You see, Music Stack is not just a single source, but an online “superstore” and a music comparison shopping portal for over 300 independent records stores worldwide which offer millions of titles of rare vinyl recordings.

Online since 1997, Music Stack specializes in finding hard to acquire vinyl records and out of print music, promos, 12", 10" 7" singles and limited edition releases. It is very easy to see why Music Stack has built such a loyal customer base.

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Additionally, if you cannot find a particular vinyl record at the site, they offer a service called “post a want.” This service acts as an Internet detective and your “post” will be sent to their network of over 300 record stores who will contact you immediately when they track down your vinyl recording.

Furthermore, you can request vinyl in many formats including lps (double, triple, or quad releases), 78 vinyl records, 45's, vinyl picture discs, as well as all types of memorabilia (posters, calendars, programs, sheet music, photographs, etc.). Oh, did I mention that this is a free service!

I have also found some nice collectible vinyl from a web site called www.vinylencore.com, that has a large selection of quality used vinyl in all music genres. Based in western Canada under the guidance of Manager Doug McLean, Vinyl Encore offers a unique blend of Canadian rock and pop. They also carry country and western, classical, Christmas, instrumental, jazz, easy listening, soundtracks, international, religious, children‟s, comedy genres as well. Another important selling point of this particular web site is that they can be emailed in several languages including: English, French, German, Spanish, and Italian.

Although the “independent” or local/neighborhood record stores are slowly closing their doors, something interesting is happening. Independent record labels are going online to promote their bands and music with great success.

One such web site, www.vinylcollective.com has mixed these two elements and has formed a unique niche for vinyl lovers to find fantastic “indie” music. I spoke with Virgil Dickerson of Vinyl Collective and Suburban Home Records about his web sites and his interest in collecting vinyl records.

“I have been collecting vinyl since the early 1990's and just love the sound of vinyl,” said Virgil. “Although it is hard to describe, vinyl just has a brighter sound, it rocks harder. I also enjoy the

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Vinyl Collective was founded in 1995 in Denver, Colorado and is a great source on the Internet for “indie” music. In addition to mainstream indie artists, they also promote their own “homegrown” talent with bands such as: Drag The River, Love Me Destroyer, Tim Berry, Ghost Buffalo, and Stereotyperider, among others.

I talked with Virgil about the term “indie” music, as I was a bit confused as to exactly what it means.

“To me, the term indie music could mean music that is released by independent record labels,” explained Virgil. “It could also be interpreted to mean something you hear on college radio-sort of a mellow-alternative music style.”

Additionally, I did another interview with Virgil, mainly about the sales of vinyl records by independent music stores like Vinyl Collective that are not being counted in the total vinyl sales in the U.S.; thus making the sales numbers unreliable. We also talked more about Suburban Home Records and Vinyl Collective. So, if you are looking for quality indie vinyl, I highly recommend www.VinylCollective.com (tell Virgil I told you to stop by!)

If you are looking for rare 60's/70's and 80's LPs and 7" singles, you can‟t go wrong with www.metro-music.com. In business since 1978, owner and record dealer Steve Lorber has designed the web site to be user-friendly. I talked to Steve about Metro- Music.

“We intentionally left off the fancy whistles and bells,” explained Steve. “We wanted users to come to the site and be able to find exactly what music they are looking for. And one of our strongest features is our customer service; we take the time to make sure our customers are satisfied.”

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Steve also is an eBay power seller and is very proud of his high ebay rating.

“Our rating is at 99.8%. I‟ve only had a few unsatisfactory feedback comments left and have many repeat customers. Check out his ebay store at: http://tinyurl.com/6m56wv

Steve started collecting records as a hobby when he was about twelve years old and his passion manifested into a business venture in 1978. We talked about the hobby of collecting vinyl records.

“Although collecting records has changed throughout the years, I still enjoy the challenge of searching for and chasing vinyl.” Steve talked about one particular record finds from his over 40 years in the record business.

“Driving by a record store in Washington, D.C., I saw that employees were carrying boxes of records to the sidewalk to sell. I stopped by and was able to find loads of sealed albums by Mad River, Human Beinz and others and I picked up at least a couple of thousand sealed Capitol Record albums for a half a dollar each. It was a very exciting time for me and some of those albums will command top dollar today,” explained Steve.

We also discussed grading vinyl records and Steve agrees that this is a very subjective aspect of not only collecting records, but buying and selling records as well.

“To get the best idea of the condition of a record, you should combine the visual grade with the play grade. It is a bit tricky because some of the older vinyl is thicker and may have deeper cut grooves, so visually it may not look ideal; but may certainly play well on your turntable.”

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This is where the trust factor of grading vinyl is the most important, especially when buying online. Personally, I would prefer a record collector/business that has experience in this area; they have the knowledge and have probably graded thousands of records. This is why I highly recommend www.metro-music.com, they are trustworthy, Steve is certainly experienced, and they offer quality customer service.

With over 14 million music and music related items from more than 400 independent stores I am sure that you'll find what you're looking for at Net Sound Music. Check them out here: http://tinyurl.com/2zrl52

Want another source for vinyl? Try InSound, an online Indie store selling CDs, vinyl, LPs, MP3s, Band Posters and T-Shirts Find them here: http://tinyurl.com/22m7gq

I have also started up an “a-store” with Amazon, which, seeing the boon in the sales of vinyl records, have now incorporated a vinyl record section into their website. They allow me to promote 540 vinyl records and I do my best to keep it updated.

http://tinyurl.com/2vdw4p (my Amazon “a-store)

You can also pick up great collectible and reissued vinyl records at Vinyl Universe. Check them out here: http://vinyluniverse.com/a=CollectingVinyl

Another fantastic option is Records By Mail, an online „super store‟ that caters to the vinyl record collector. I have had many happy transactions and I think you will be pleased at their top- notch vinyl record inventory. Visit them here:

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http://tinyurl.com/58vn9x

I have also had great success with a record store from the heartland of the United States, www.backtrackrecords.com. In fact, they carry the genre of music that I am most interested in, 60‟s rock. I recently had a long discussion with the owner of Backtrack Records, Jeff Loos; here is the article I wrote:

Vinyl Is Back

An Interview with Jeff Loos of Backtrack Records

Vinyl is back. From the „error‟ by a Fred Meyer employee (where LP‟s were ordered by mistake), major electronic retailer Best Buy‟s stocking vinyl in select stores and mainstream recording artists releasing records gain, the resurgence is upon us.

And in the heartland of America, records are a hot commodity. I recently had the pleasure of speaking with Jeff Loos, owner of Backtrack Records, (www.BacktrackRecords.com) located in Lincoln, Nebraska. Backtrack Records has been selling vinyl records in Lincoln for over 16 years, mostly as an online entity. But the „brick and mortar‟ store is a busy, bustling arena of quality, vintage LP‟s, with a special emphasis on the 60‟s music scene.

Let‟s explore Backtrack Records with owner Jeff Loos:

We keep reading about the resurgence of vinyl records, what is your take on this „new found love‟ of records?

“First of all, records really never left, they just got pushed to the side because of all the hype on CD‟s,” explained Jeff. “We then find out that CD‟s aren‟t all they were hyped up to be and the price really never came down like they claimed-plus they are digital binary sound.”

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“The record industry did keep pressing records during this time except it was on a much smaller scale. People who still owned turntables from the middle price range to high end always knew that a clean record LP was superior to the CD in sound, if the record was an analog pressing in which almost all are.”

“We‟ve had a retail store for over ten years from 1988-2000 and went to the world-wide web and decided after seven years to reopen the retail store. I‟m glad we did because I have previous customers from the past come in and I ask them what they have done for the past seven years and almost all say they still been spinning their vinyl and are glad we are back open (that‟s a dedicated customer). Also we‟ve made many new friends world wide who love the sound of records over CD‟s. Countries in the U.K., Germany, Sweden, Holland, Spain, Japan, Australia, etc, are all pressing and selling vinyl.”

“I‟m so amazed that almost all of my customers know that vinyl records are analog and CD‟s are digital plus they know the difference that analog is a continuous sound wave and CD‟s are sampled and chopped up in bits. This can get a lot deeper but I don‟t want to get into that but you can just Google in „analog vs. digital‟ and it will give you the true scoop.”

“Finally, I can say that most of the major record labels are up and pressing again, not everything is getting pressing but lots of great artists. Recently I just purchased the new “Doors” box set and it sounds fantastic (what a great job by Mastering Engineer Bernie Grundman, Jac Holzman the founder of Elektra Records and Bruce Botnick the original Doors producer did on this box set). The “Complete Clapton” box is great as well as the “Traveling Wilbury‟s” new release. Another “Led Zeppelin” box is coming out soon. The pressing are usually a short print, so if any doubt don‟t get left out because some of these pressing will be worth as much as some of the originals.”

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What is it about the sound of vinyl that makes it better than a CD or really any digital format?

“Vinyl LP‟s (analog sound) is primarily the reason LP‟s sound better than CD‟s. It all comes down to a true continuous sound wave length vs. digital sound bits, with a gap between each sampled bit. The system you play your records on is very important and there are quite a few variables that play a role in the sound you hear. Power source, turntable, speakers and more all come into play, it can pretty deep and expensive if you want to go for the high end equipment,” explained Jeff.

I refer to digital sound as „binary sound,‟ is this a good comparison when debating analog vs. digital sound?

“From what I understand is that if we took an analog pressing and tried to convert it from its source to a computer, it first must go through a process converting it to binary numbers so the computer can read it. So I would say yes your correct in saying that digital sound is a binary sound into bits,” said Jeff.

I imagine that you have amassed quite a collection, what are some of your personal favorites in your own collection?

“Actually, when I first open my store in 1988, I promised myself and the store-that the store came first. It paid my rent and let me buy more inventory to make a better store. So really, I personally don‟t have huge collection for myself. I do have my favorite bands such as the Rolling Stones, the Doors, Beatles, and Pink Floyd- you get the idea classic rock.”

When did you first start in the business and why did you pursue this retail genre?

“I have a Bachelors Degree in Teacher College and couldn‟t find a teaching job in the area back in the 1970‟s/80‟s, so I decided to open a retail record store. I always loved “Dirt Cheap” records in

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Lincoln, and a friend of mine owned it and moved the store to Omaha and said why don‟t you open a store in Lincoln and that‟s we did. It‟s a fun job but still it is a lot of work. Cleaning thousands of records by hand does take some time and patience. The love of the music and the customers are by far the most interesting part of the job. There always seems to be a challenge either finding that rare record for someone or finding the new vinyl that is being pressed.”

I always tell people about the “thrill‟ and adrenaline rush that I get while „crate digging‟, what are your thoughts about record collecting?

“It‟s like an Easter egg hunt for me. I‟m always thumbing through record stores while on vacation looking for that rare find,” detailed Jeff. “I seem to always see something from the 60‟s or 70‟s I haven‟t seen in the past. There‟s ton‟s of groups out there that have only one or two albums and sound great, but only a handful of people know about them and the radio didn‟t play their music. There are so many major bands that tie in to another band that goes on forever. Look at the “Traveling Wilbury‟s” and all the bands those guys played in.”

Regarding grading records, what methods do you utilize when grading the records that you sell?

“The Internet is the tough place to grade records because in the retail store I leave the record open for the buyer to inspect. I try to be tough on grading because I hate to have returns. On the Internet we grade record & cover as a M- (extremely clean, looks & sounds like a new record), VG++ (possible small wear but looks and plays close to new), VG+ (minor scuffs, possible small noise but no skips and plays ok), VG (usually end up in my $1.00 section or the goodwill).”

Is there any particular genre of music (i.e. blues, jazz, etc) that is selling the most in your store, what is “hot” right

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“I would say that classic rock is really the best right now. From college kids to the baby boomers, they all seem to be playing this genre. Jazz and blues hold their own but I have to stick with the classic rock,” said Jeff.

How large is your „online‟ inventory?

“Our online inventory is about 6,000 records, we have added a few more, but since we opened the retail store, I‟ve kind of got a little behind on the data basing of our inventory. We have a little over 15,000 items in the store.”

What about selling on eBay, what experiences have you had, good or bad?

“eBay is fine for what they do but I really don‟t sell much there. I‟ve had a few of the high dollars items and moved them on eBay but I really don‟t sell any of the $8.00 to $15.00 records there. I would rather sell them on our site at www.backtrackrecords.com or www.MusicStack.com or www.Gemm.com,” explained Jeff.

What is the best „record find‟ that you have ever been a part of?

“One of the best finds was an original 1958 Buddy Holly “That‟ll Be The Day” Extended Play with the liner notes on the back cover in near mint condition. I‟ve also had a couple of the Beatles “Butcher Cover” 2nd state version.”

Where do you see vinyl records five years from now?

“Five years from now I see vinyl records still holding their own in the market,” predicted Jeff. “High end tube equipment seems to coming into the scene more and more. The audiophile market seems to be holding its own. The companies are continually

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com trying to make the analog sound even better. The “Doors” box set is a good example. The vinyl of this set actually sounds better than the original records because they are using the new technology. Life is good when the sound keeps getting better. Don‟t forget some people just play music while other people listen to music, there is a big difference.”

What is the difference between an audiophile record and a „regular‟ record?

“An audiophile record is mastered at better equipped mastering plants such as Mobile Fidelity, Classic Records, Speakers Corner and the like,” explained Jeff. “Many of the U.S. records are mastered at the home plant and pressed at RTI. The people, who master the record, produce it and engineer it, are all very important. Also many companies are going to 180 gram & 200 gram vinyl claiming a nice big platter makes a difference. The companies are also using virgin vinyl which also helps. Let‟s not forget that many of the late 50‟s and 60‟s records were taken very seriously when it came to sound. Mercury had the “Mercury Living Presence” series, “RCA Living Presence” “London Bluebacks” & “Columbia SAX Series.”

“Regular records sound good on a middle range turntable, high end turntables, and equipment need high end quality records. You are wasting your hard earned cash if you play a high end record on a low end turntable.”

So, there you have it, vinyl records are back and we have learned why; from a gentleman with his hand on the pulse of the vinyl resurgence. Let‟s hope that the music keeps always being what it is all about, and if musicians and record companies really care about the sound, the vinyl record will live forever. It is web sites like Vinyl Collective, InSound, Music Stack, Vinyl Encore, Forever Vinyl, GEMM, Collector‟s Choice, Metro-Music, Records on the Web, eil, Records By Mail, NetSounds, Vinyl Universe and Backtrack Records that have made the hobby of

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com collecting vinyl become so popular in the past few years. You see vinyl records that were thought to be held only by the serious or professional collectors can now be obtained by the “average Joe” and someone who is just starting their vinyl record collection. Vinyl is so much more accessible with the Internet and the online community.

What makes online record retailers desirable for a beginner or established record collectors are that they have a knowledgeable staff, are open all the time, take multiple forms of payment and their expansive inventory makes shopping for collectible records an easy and fun process.

There is another online resource for vinyl record lovers, my new site called www.buyvinylrecords.net. What I am doing, and this is an ongoing project, is making the ultimate online directory for vinyl retailers. Right now, Buy Vinyl Records has links to over 325 online vinyl shops and I will be incorporating many, many more in the months to come.

But you are not limited to online record stores as a source for collectible records. You can browse forums as well and find some great deals on old records: http://www.vinylengine.com/phpBB2/index.php http://www.jerryosborne.com/cgi-bin/Forum/YaBB.pl

There are many other forums related to vinyl records and it is easy to find them and one that will suit your needs. To find a particular forum go to Forum Find.com located at http://www.forumfind.com/. Just type in record album collecting or vinyl records and there you can meet people who share the same interests as you. (Perhaps you collect punk or new wave). However, I think one of the most interesting places to meet record collectors and find used vinyl sites are web rings. Being a

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com record collector requires you to be resourceful, and it is important to make contacts wherever and whenever you can. Web rings define these principles- they are convenient, free, and easy to navigate and these people usually share the same passion about record collecting as you do. You see, web rings are one of the best ways to find great web sites. Similar sites are grouped together in rings and each site is linked to another by a simple navigation bar, forming a concentration of sites. This allows users to navigate and browse more freely throughout the ring and develop virtual communities based on the ring topic (in our case, collecting vinyl records, but it could be anything...there are scrap booking web rings, coin collecting web rings etc.) And did I mention this is free?! http://u.webring.com/hub?ring=vinylrecordswebr

If you were to find an album that you already have and the price is reasonable, it is a good idea to go ahead and pick up an extra copy of the record. It can be used to trade with other collectors (as I did with my neighbor‟s brother), you could possibly resell it, or it may even be an upgrade from the one you currently own. Your record album collection will be better for it as you continue to add and refine your collection.

There are some abbreviations you may encounter when seeing record albums listed for sale. In addition to the aforementioned condition abbreviations (i.e. M= mint condition, VG+= very good plus, etc), you may see some of the abbreviations listed on the next page:

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Boot: bootleg (illegal pressing) Cc: cut corner Cov, cv,cvr: corner Demo: demonstration record Dh: drill hole Dj: disk jockey (promotional) record Ep: extended play (can be used for both 45s and LPs) Gf: gatefold Imp: import Ins: insert Lbl: label M, mo: mono Orig: original Ps: picture sleeve Q: quadraphonic Re: reissue Rec: record Rw: ringwear S: stereo Sl: slight Soc: sticker on cover Sol: sticker on label Ss: still sealed Sw: shrink wrap Toc: tape on cover Ts: taped seam Woc: writing on cover Wr: wear Wrp: warp

You may run across many more that are not listed here. Just check the particular web site or guide for a “legend” of abbreviations. Another site that I have found very helpful:

http://members.tripod.com/~Vinylville/faq-1.html

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Selling Record Albums

If you plan to sell your record albums, how would you go about doing this? Well don‟t assume just because you are selling your collection or just a few albums that you will find a buyer. Like everything else that is bought and sold, there must be a demand for it.

It is imperative that when selling your records to know what they are worth. I spoke with “Mighty John Marshall,” an experienced seller/appraiser about this dilemma.

“In this genre of collectibles, instead of buyer beware (which is true of anything bought or sold), I add the term „seller beware‟ because it is the seller‟s responsibility to know their records are worth.”

I also asked John about his thoughts on vinyl and the difference in sound between the CD and vinyl.

“People who grew up with vinyl may be a bit biased; they are more familiar with the format and can relate to it easily. Vinyl also has a fuller sound to it and there is something intimate about dropping a needle on a record,” John explained.

Now, who exactly is “Mighty John Marshall?” For those who are not familiar with him, let me provide some background information.

Known as the “King of Collectibles,” John Marshall has been in the vinyl record/collectible industry for more than 30 years and is currently one of the most popular guests on radio shows in the U.S. because of his experience and he helps listeners determine the value of their records. John Marshall started accumulating records in his teens while living across the street from a jukebox distributor. He amassed an impressive collection by not only

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com getting records from the business across the street, but by also contacting jukebox companies on the east coast to send him whatever they didn‟t want to him (John said that some overstock was just thrown out in those days). He has bought and sold records for many, many years at many local and national record conventions but doesn‟t actively pursue that now John also provides a valuable service at his website www.moneymusic.com.

“I inform people who have no idea of what their records are worth and give them the best estimate that is available at the time. This insures them that they will get a fair price for their records,” explained John. “I also urge people to always under grade and to make an honest representation of what they are selling.”

John‟s website www.moneymusic.com provides online record appraisals. For the most accurate appraisal, John requires you to email him the title of the song/record, the artist, label, and the catalog number and he then will determine the market price for a near mint copy. Customers will get their appraisals within 24 hours and the cost is two dollars per record. If your records are worth less than the appraisal fee, there will be no charge. He does not establish values for bootlegs, imports and warns people to be careful of these types of records.

Another valuable service incorporated into the website is “Mighty John‟s Yellow Pages of Record Collectors and Dealers” which contains the names, addresses, and phone numbers of record collectors and dealers throughout the U.S. and Canada. With this book you could contact more than one collector or dealer to get the fairest price for any records you may have for sale. It is organized alphabetically by state or province and is available for a reasonable price ($9.95).

In addition to the “Yellow Page Directory,” Mighty John has several valuable tools for the novice collector or established collector as well. I picked up a copy of “From Records to Riches,”

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com a package of two audio CD‟s that explains everything you should know about the value of records. In these audio CDs, Mighty John discusses some of the little things that can make the same record worth different values (i.e., condition or if the record has its original sleeve etc.), how to spot originals from re-releases and counterfeits, secrets to making the most money with records and much more. I whole heartily endorse this CD set and if you are serious about your record collecting this is a “must have” element to not only learn to enjoy your hobby, but if you thinking about going into business as a record dealer.

Also offered on www.moneymusic.com is “Mighty John‟s Compilation Price Guide,” a CD that lists the value of more than 10,000 compilation albums and “Mighty John‟s Soundtrack Guide” and of course, “Mighty John‟s Gold Price Guide,” a CD that lists the values of more than a million records from 1902 to the present (45's, albums and 78's) by over 53,000 recording artists.

Mighty John has also begun to deal in collectible and classic TV shows and memorabilia with his new venture: http://www.themightyjohnchannel.com

There are other avenues to secure the valuation of your record collection, if you decide to sell or if you need the value for other purposes (if you have a large collection or valuable collectible records it is wise to have them appraised for insurance purposes).

The value of vinyl records is very subjective and certainly up for debate. There are many elements that go into ascertaining just how much a specific record or a whole collection may be worth. Do you use fair market value, replacement value, or record price guide value? As I found out, it all depends on the circumstances, and the best way to achieve these objectives is to have your collection professionally appraised.

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Appraising Vinyl Record Collections

I had the opportunity to speak with professional appraiser and music historian Stephen M. H. Braitman about the elements that go into putting a value on a record collection.

But, first, let me introduce Stephen. He has been involved with records and music since the late 60's, writing and editing several entertainment and music publications. He also has been a dealer, buying and selling records, posters, and related memorabilia throughout the years. His widely acknowledged expertise in the marketplace for music and memorabilia makes his appraisal services very important for estate planning, charitable contributions, expert testimony and for insurance and coverage claims. His many credentials include: passing the American Society of Appraisers (ASA) Principles of Practice and Code of Ethics exam in 2004, completing courses on such subjects as the Uniform Standards for Professional Appraisal Practice (USPAP) Personal Property Valuation, Methodology-Research and Analysis as well as the legal and commercial environment of appraisal. He is also a music analyst with Gracenote, the digital music management company.

So what does all this mean? Stephen M.H. Braitman is a qualified, certified appraiser. Why is this unique service so important? As I discussed the details of his occupation with Mr. Braitman, let‟s explore some of the details that go into a record collection appraisal and how a record collection should be appraised.

“This is a new service, a new genre so to speak,” he said. “The service is being offered for those people who may have large or small collections and have really no idea their worth. Unfortunately, there are no legal requirements to qualify as an appraiser except in the real estate market, but the IRS and the Appraisal Foundation have led the way with the adoption of

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com nationally recognized standards that reputable appraisers in all fields use. The IRS, for example, uses the concept of fair market value, meaning the agreed-upon price paid by a willing, knowledgeable buyer to a willing, knowledgeable seller. One of the reasons I entered this profession is, not only because of my love for music and music memorabilia, but because I felt that the industry needs certified appraisers to provide critical assistance in defining the values of collections for insurance purposes, estate planning, tax donation claims, personal disputes and investments. Part of the job is also being called upon as an expert witness to attest and back up the values set upon a collection. That‟s where I enter the picture.”

When asked what exactly goes into an appraisal, Stephen explained:

“There are many variables that have to be recognized when placing a value on a collection. It also depends on the purpose of the appraisal. For instance, the IRS uses fair market value in determining the value of donated material. But, replacement value in insurance cases different; it‟s higher because you‟ll be paying a higher cost to recover certain collectibles, let‟s say, that may have been lost in a fire. So, the intent of the appraisal must be taken into consideration as well.”

“We research what are comparable items in the current marketplace. There are several aspects to research that include recent and relevant sales, trend analysis, professional consensus, retail stores, auction prices as well as record guide prices. The record price guides are a nice starting point, but they may not reflect true value because of the variables just mentioned.”

“Our first order of business in an appraisal is generally to examine the physical items, if possible, and note the condition, edition, or other key points of recognition. Then we conduct extensive research to ascertain the current marketability of the items. Our service concludes with a certified document that

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com details the estimated retail value and the current wholesale value, depending on the type of appraisal. We also include a statement of the overall quality level of the item or collection, including condition, pressing edition or the cultural or historical desirability. This document exceeds the appraisal requirements of the IRS and the insurance companies.”

We discussed one of the most confusing and subjective elements regarding vinyl records: grading the vinyl. I asked Stephen what method he uses.

“It is actually a combination of many methods, including the Goldmine Standards that have been set up in their many publications, the „Good Rockin‟ Tonight‟-formula, and my own formula. I like to take it a step further and use a 100-point scale, and deduct points for every flaw, not only on the record, but the picture sleeve (if it is a 45rpm), LP jacket and cover. I would like to see a uniform standard set up sometime in the near future, something that everybody in the industry could agree on,” said Stephen.

There are also a couple of ways to have your memorabilia or record collection documented and appraised, as Stephen details:

“We actually offer two distinct services, the professional appraisal, and a quick evaluation of your memorabilia or record collection. This entails you sending us a list of your items from which we provide a detailed document with a range of market values based on comparables. You‟ll be able to tell whether you have something worth $1.00, $10, $100, or more. This process is quicker and less expensive that the formal appraisal and is most useful in estimating what a sale to a dealer might bring,” explained Stephen.

“Our service includes, not only the appraisal of records and record collections, but posters, flyers, handbills, programs, CDs, promotional items, tour books and other music collectibles. (I

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com don't handle musical instruments, which is a very different kind of specialty). It is important to have your items or collections appraised to gauge the potential replacement value, assist in estate planning goals, tax elements and other factors. I have much more information on my Website, http://www.musicappraisals.com

As we wrapped up our interview, we talked about our love for not only music, but the historical audio format of, vinyl records. I asked Stephen about one of his most memorable record collection appraisals.

“I did an appraisal for a gentleman in Texas and he had a wonderful and superb record collection. But, when he put on an old 78rpm of Robert Johnson and played it on his professional sound equipment, and as the music filled the room, you could have swore that Mr. Robert Johnson himself was playing for you right then and there. It was a wonderful and enlightening experience, and one I will never forget,” recalled Stephen.

So, not only does Stephen M.H. Braitman offer valuable and unique record appraisal services, he also gets to archive, appraise, and handle important parts of audio history, and gets to hear them as well. And that is a reward that you can not put a value on.

More about vinyl record appraisals:

Another well respected and world renowned vinyl record appraiser is the aforementioned Scott Neuman of www.forevervinyl.com I had a chance to interview Scott about this rare service:

Everyday it seems that we read about the resurgence in the sales of vinyl records. In fact, in a recently-released 2007 RIAA sales report, the American music industry sold 36.6 percent more

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Extended Play (EP) and Long Play (LP) records than it had in the previous year; increasing vinyl sales revenue by 46.2 percent.

And the world of collecting vinyl records is also reaping the benefits from this renewed interest in vinyl. But how does one place a value on these classic recordings, what is a rare record worth and what is the process for acquiring such information?

I spoke with vinyl record historian and record appraiser Scott Neuman, owner of www.forevervinyl.com about this dilemma and some of the obstacles one may encounter. But, first, let‟s meet Scott and review his background.

Scott Neuman is a vinyl record veteran who started working in the music industry at an early age and has been a record collector/dealer/appraiser since 1975. He has been an on air disc jockey for several radio stations, worked in television as an announcer and cameraman and has also owned and operated a record store. And keeping up with the times, Scott was one of the first “online” record shops, operating www.forevervinyl.com; which boasts an inventory of well over 2 million records.

I asked Neuman about the renewed interest in vinyl records and the allure of vinyl.

“Listening to records used to be a time to be enjoy with a few friends, hang out, listen to the music and read the liner notes on the back,” explained Neuman. “Maybe you enjoyed the gatefold sleeves in a personal way, maybe you just enjoyed slipping the sealing material off the cover on your pants by rubbing the corner of the record on your knee, taking the record out, getting that little “pop” of static electricity, and taking a slight sniff of the vinyl. Then lining up the needle on the record after cleaning it and sitting down to enjoy the fruits of your work. All of that is very hard to do with a CD or MP3. Records are personal, something to share with friends. Sure, CD‟s are nice and so are MP3‟s. But records force you to listen to them.”

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And, what is the allure, and can you tell me about your record collection.

“The allure? For all the reasons above,” said Neuman. “All formats have their points. I just like handling vinyl. I was a DJ for years and used to use records to entertain in the Philadelphia and New York area. I didn‟t just play records. We made a night of entertainment. As for the digital sound, I prefer the warmer sounds I get from vinyl.”

“I do have a music collection and my favorite items are not necessarily rare. I do have a large jazz collection from the 50‟s in mint condition that I‟m not ready to sell yet. These would be first pressings by John Coltrane, Miles Davis, Monk, and a few others. I also have some rare Beatle items that I enjoy looking at including a first state „butcher‟ cover and an “Introducing the Beatles” in excellent condition that isn‟t counterfeit. I also appreciate Gold and Platinum RIAA award albums given to various artists, autographs by various artists and also Vogue picture discs which were picture discs pressed on 78 records. One more thing I enjoy owning are various acetates. These were one off pressings by artists used just for test and listening purposes and were normally destroyed after a final production of a product. You can sometimes hear alternate versions of your favorite songs. These items self destruct the more you play them so it‟s wise to record them and put them away for safe keeping.”

Neuman is also one of the world‟s most renowned vinyl record appraisers and offers this service on www.forevervinyl.com. There are many variables that go into what a particular record may be worth.

I asked Neuman about the demand for this service and what makes a record valuable.

“Forever Vinyl gets more than twenty calls a day for customers looking for appraisals for estates and charity donations,” detailed

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Neuman. “As far as the elements of an appraisal, it depends on the needs of the customer. For donations, we draw a number of different elements to get the correct market value for your collection. We neither under nor over appraise your collection.”

What makes a record valuable?

“What makes a house value? Location, location, location. When it comes to records, demand, demand, demand. Age is not a determining factor in record collection, demand is,” stated Neuman.

When donating records to a charity, what are the main obstacles a person might encounter?

“There really aren‟t any obstacles per say other then finding a non-profit entity to accept them. The IRS is very picky about fair retail market value as they should be. We should all pay our fair share of the tax burden. It‟s important to understand that the IRS considers the value of a collection to be based on the value and use of the entity you are donating the collection to. If you donate the collection to a university, and they hold on to it for three years, possibly put it in their library and make the collection available to the students to learn from, the appraisal will normally stand. If you donate the collection to a thrift shop, the IRS will normally look at what the thrift shop sold the collection for and adjust any appraisal value over that amount. Needless to say, we highly recommend finding a charity that would value and use the collection rather then just dump the collection for pennies on the dollar.”

Tell me about your appraisal services that are offered at Forever Vinyl.

“As you know, many records are now valued in the hundreds and thousands of dollars. Because of the amount of appraisals that are requested per day, we've instituted a reasonable fee to cover

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com our cost, time, and expertise for these appraisals. Our current fee is $20.00 for the first item of the appraisal and $5.00 for each additional item. For collections with over 200 pieces, please call us 732-505-5337 for adjusted rates,” explained Neuman.

“All information must contain the following information- Artist, Title, Type of item, Condition (1 - 10 is fine with 10 looking like its brand new), Label, and Label Number. If the item is a 45 single, does it have a picture sleeve? Also any other comments you'd like to make about the item. Examples could be if it's a promotional or "Not for Sale" copy, if it's a test pressing or acetate, if it's autographed and so forth. If necessary, we can and will travel to your location. For those of you with larger collections, we do work on a rate of $200.00 an hour plus travel, food and lodging expenses, if you need us to come to you. This is only by appointment. Many of our customers have used this service. We also can accept items shipped to us for appraisal. Feel free to contact us for more information; we‟d loved to help your put a value on your collection.”

So as the sales of vinyl records and the interest in this historic audio medium continue its upward trend, so too, will the need for vinyl record appraisals. Thankfully, we have vinyl record experts like Scott Neuman to help us put a value on our collections.

Additionally, I have also just started to do appraisals (see my website www.vinylrecordappraisals.com) and you can contact me at [email protected] (my home email address, just put in the subject line “Record Appraisal” and I will answer you ASAP).

Depending on the size of the collection, the price varies, but I am very reasonable (I charge $1.00 per record with a MINIMUM of 10 records) and email with any questions that you may have, we can work something out 

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How To Determine Record Values

So what are the variables that go into placing a value on vinyl records? Besides the previously mentioned condition of the vinyl record, there are many other elements to look at. In the case of the Beatles (and other artists) the color of the record label, what kind of print is actually on the record (for instance, Mfd. by or Manufactured By), sometimes even the placement of the logo and in the case of RCA, where the dog is located on the record label (who is named Nipper, by the way), all can have an effect on the value.

But, the value of a record is, and this is putting it in a very simplistic way, is what a person is willing to pay another person or business for the record. But there are many other variables that must be considered to put a value on a record, let‟s look at them:

Scarcity

Many, many millions of vinyl records are in circulation, with almost every household in the US, either having some vinyl records at one time or another. We even had a vinyl record „boon‟ from around 1955-1980. But, how many of those records are still around and more importantly, what condition are they in?

For instance, rhythm and blues records from the 1950‟s suffered from poor promotion and publicity, therefore there were fewer of these that were pressed. The record companies that produced these particular records were small and lacked the resources that the larger record companies enjoyed, some may have been limited to only one or two thousand being pressed, On the other hand, the Beatles records were massed produced and they benefited from much larger pressings and are a fairly common record (depending on the label) and some are not worth as much as one might think. This brings us to another element-demand.

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Demand

Like any other commodity, vinyl records are subject to the old supply and demand adage that is prevalent in any free market society. Record values were affected by the Internet age, especially with the many online auction sites. Records that were thought to be rare and valuable suddenly came out of the closets and basements and were put up for sale and brought some prices down. But, that has evened out at this time and the record guides and prices reflect that. If there is a demand for a certain genre or artist, chances are the price will go up, more people want these type of record and there is more competition for them. For instance, the music genre called Northern Soul (commonly known as Motown) enjoyed resurgence in sales in the past few years, driving up the prices. Conversely, there is not a lot of demand for classical music (in fact, there aren‟t even any price guides for this genre of music); therefore you cannot expect to get much for the records.

History

This element of putting a value on a vinyl record goes hand in hand with the relative scarcity of the record. Many special musical genres in recorded music often command a higher price because of their place in music history. For instance, the early roots of country music from the early 1930s and 1940‟s, early jazz recordings, the rock and roll „infancy‟ recordings (including rockabilly, rhythm and blues, the „girl‟ groups of the 60‟s, ) are often highly sought after and therefore of more value. Some early Motown, psychedelic music, surf music, garage band rock and doo wop often command a higher price because these are records that have a prominent historical value in recorded sound.

Artist or Group

Obviously there are some musical icons that sell better than others and are in command. Early Elvis records, the Beatles, the

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Rolling Stones, Pink Floyd, Led Zeppelin, Bob Dylan, Jimi Hendrix just to name a few all command top dollar because there is always a demand for these records. But that is not to say that some obscure bands or artists are precluded from being valuable, on the contrary, there may be an artist that you have never heard of and the record may be selling for thousands of dollars.

LP Jacket, Inserts, Picture Sleeves

When issued, some records came with an added incentive and that is also collected and can add value to a record. LP‟s came with fantastic artwork, inner sleeves with liner notes, lyrics, posters, cut out and all these elements are included when establishing a resale price. Again, the condition of these „extras‟ must be taken into account when ascertaining the value of the record. 45rpm records came with picture sleeves and some of them are even more valuable than the record that they may hold.

The Year of Release

First pressings may be of more value than a reissue of the same record ten years later. For instance, a Beatles record that was released in 1965 is of more value to a collector than a reissue that was released in 1980.

The Record Label

Some record labels are also more collectible than others. Old R & B or jazz on the record label Bluenote is generally worth more than if the same music and artist are released on another label. Another example is Beatles‟ records released on the Capitol record label as opposed to the Vee Jay label. For instance, if you were to the record “I Want To Hold Your Hand” on the Capitol label, it will generally be worth more than the same record on the Apple label (which was formed after the record was issued). Certainly there are exceptions, but there are a lot of record labels that suffered from poor distribution and, quite frankly, there are

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Stereo vs. Mono

As a general statement, all 45‟s manufactured by all record labels after 1970 were pressed in stereo. But there were labels that issued records between 1957-1970 that were issued in both formats, and you would have to check the catalog number of the record to find out which one you may have. Some mono versions may be worth more than there stereo counterparts, while some records in stereo may be worth more than mono; it all depends on the artist and label.

As we review, we see that there are many elements that can factor into ascertaining what a record may be worth. We have covered the basics, there are more like picture discs, colored vinyl, promotional releases, misprints, why even the color of the record label may affect the price; but this is a good starting point. One element we should highlight is what you get for a record can also be determined to who you are selling the record to, a dealer will probably give you only a portion of what the record may be worth, or you may be able to find a rare and valuable record at a garage sale for pennies on the dollar. And that is the fun part for record collectors!

There are many avenues to use when trying to sell records. Placing an advertisement in a newspaper may not get you the results you are looking for, so instead, you may want to place an ad in one of the record collecting magazines like Goldmine and target your specific customers. To buy a subscription to Goldmine or for more information:

http://tinyurl.com/3y43kp

Online auctions have found a niche for record sales, but I tend to stay away from these avenues because of safety concerns and

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com payment problems, but that is a personal preference.

Additionally, you could ask a dealer to sell the record(s) on your behalf and then take an agreed percentage of the sale. Furthermore, you could set up a consignment deal with a thrift shop or put them up at a neighborhood garage sale.

But there is one very important issue that must be addressed in both buying and selling record albums. As I stressed earlier, condition is the most important factor in deciding the value of any record album and you must grade your records accordingly. If you are selling, grade conservatively because you are better off giving the buyer more than they bargained for, rather than grading the record(s) based on what you wish the record would look like.

The most critical factor in buying or selling record albums is determining what the records are worth. For instance, a Bob Dylan album called “The Free Wheelin” Bob Dylan (1963) can be worth up to $12,000 (NM), if it includes specific tracks (songs). But you have to play the record to know if it includes these tracks because the label is misprinted. The only way you would know this information? By purchasing vinyl record price guides, http://tinyurl.com/2jgpxq http://tinyurl.com/22zcyg you can get the book value of your record. Although the prices listed in the guide are a collaboration of many sources, they are not “written in stone” but are widely accepted and used by professionals and amateurs alike. This is a must read guide for all record collectors and what most people use to find the value of a particular record album.

Record Collector Magazine is based in the UK and uses experts

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The Fascinating Hobby Of Vinyl Record Collecting by Robert Benson www.collectingvinylrecords.com from around the world to present a thorough and detailed look into vinyl record collecting and vinyl valuation with special features, up to date news, reviews, interviews, and advice.

They also have released the “Rare Record Price Guide”-2008 Edition, which is the world‟s leading authority on prices of rare and collectible records pressed in the UK. The guide covers every era from the 1950's on and every genre of music including pop, rock „n‟ roll, blues, soul, reggae, jazz, dance, indie, country, folk and more. It features over 100,000 entries with over 1,450 pages and is a “must have” for any serious vinyl record collector. It is available at: http://www.recordcollectormag.com/

Another aspect of collecting that I must mention is that of documenting your collection. There is software available on the Internet that will help you catalog your vinyl records. This is important, not only for insurance purposes, but for your own personal benefit, as you may want to print a list of what you have in case you decide to sell some of your records and quite frankly, to remember exactly what you have.

A program I highly recommend is Music Catalogue Master, distributed by www.kixsoftware.com. Music Catalogue Master is a powerful software tool that will allow you to organize and catalog your vinyl into a fully searchable database. It enters vinyl record albums automatically by connecting via the Internet. It will download all the available vinyl record information into its database including: artist name, title, label, year of release, times and more. For collectors, there is a whole separate area for information like purchase price and current value. If you have a large collection, it is wise to catalog it.

One other note, Music Catalogue Master is shareware, which means you get to try it for free for 21 days. If you don‟t like it, just uninstall the program from your PC- no cost, no obligation.

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Can‟t beat a deal like that!

There are other components that directly affect the price of a record. The year of pressing (you must be careful here, as there are many “re-pressings” of records), specific numbers on the jacket and LP, inserts, the label the record was recorded on, the year of release, the color of the label, the interest in the band or artist and much more. By educating yourself, talking to other vinyl collectors, visiting forums, surfing the net and reading about this hobby; you can begin to amass a vinyl collection and enjoy this wonderful hobby.

However, I would do an injustice to all the readers of this book if I did not mention a site that I found while doing the research for this book and one that is what I like to call the “holy grail” for the record collector.

The Record Collectors Guild (http://www.recordcollectorsguild.org/) is one of the most comprehensive web sites available on the Internet today. In addition to informative articles about vinyl records and music, the site also addresses the appraisal of your collection, the care of vinyl, grading issues, insurance issues, LP cover art, and where to find vinyl, online or offline. Additionally, they keep the members informed about upcoming events and record shows all over the United States and Canada.

The site also has a forum and if you are looking for collectible records, you have found the right place. These are serious folks with serious collections, who are knowledgeable and would be a perfect place to start if you were going to build a collection of vinyl records. And you can find some of my recent articles posted there 

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Insuring Your Valuable Collectibles

OK, you have your vinyl records stored properly, have complete documentation of your collection and enjoy your music everyday. But what if something unforeseen happens, a fire or some other catastrophe? A unique insurance agency called Collectibles Insurance Services; LLC is here to offer peace of mind and, most importantly, insurance for your collectibles.

I spoke with Dan Walker and Debbie Spilman of Collectibles Insurance Services, LLC, about collecting and why it is important to have insurance on your treasured collectibles.

“Some may think that they‟re homeowners insurance policy covers their collectibles, but in most cases your homeowners policy is designed to cover personal property and is not nearly enough to protect your treasured collectibles,” said Dan. “They may limit the collection to a percentage of the total value of your home, limit the amount that they will pay for theft of valuable items like silver, crystal, guns, stamps and paper documents or be based on actual cash value rather than the collectible or replacement value.”

Collectibles Insurance Services (www.collectinsure.com) differs from the average homeowners‟ insurance policy, in that, insuring collectibles is all they do. The service can insure a collection of stamps, advertising memorabilia, sports cards, vinyl records, antique tools, vintage clothing, trains, toys, weapons (guns, knives swords), entertainment memorabilia and much more (see the website for a complete list).

“Normal homeowners policies don‟t generally deal with collectibles, we write policies specifically for a person‟s collectibles, whether it is a rare book collection, stamps, coins, sports cards, vinyl records and the many other collectibles that we deal with every day,” explained Dan.

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Valuation of a collection is subjective and estimating what a certain collection is worth depends on many variables and researching different avenues.

“We strongly encourage prospects from overvaluing their collections. We cannot insure „emotional worth‟, but can insure a varying array of collectibles. We ask that people have a paper trail, save receipts for what they may have paid for items; documentation is very helpful, take video of the collection or pictures. Validation is an important element. Don‟t over insure and if necessary get a second opinion,” detailed Debbie.

How does one go about ascertaining the value of a collection or their collectibles?

“Price guides are great, but they are just one of the tools used when trying to gauge a value of a collection,” explained Dan. “Replacement value would be what a knowledgeable buyer would pay a knowledgeable seller for the items, it is an agreed upon price between two knowledgeable individuals in a sales transaction. You must price your collectibles realistically for insurance purposes.”

“The valuation process could also be aided by a professional appraisal (although that is not always necessary), professional consensus, price guide values, what the collectibles may be selling for on the market at the specific time, our own resources and expertise and because no two collections are the same, all these factors are available in helping people determine what the value is. We also have a number of resources on file and references listed on the website including valuation aides, inventory aides and dealers to help people along so they can put a figure on the collections worth in which to write a policy,” said Dan.

What kind of resources that are used in the valuation process depends on the items in the collection, as Debbie explains:

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“We provide reference to many entities in the process including obtaining information from the Kovels.com, American Stamp Dealers Association, Price Miner, Antique Trader, Beckett.com, CBGXtra.com (for comic book collections), collect.com, Goldmine publications, Military Trader, trains.com and a number of other resources, depending on the genre of the collectible.”

I inquired about insurance when you are moving the items, from whether down the street or across the country; doesn‟t the moving company provide insurance for that?

“Submitting a claim to them is much more difficult to do, as the moving companies would require much more documentation to validate a claim if there were breakage or something else were to happen,” explained Debbie. “Again, validating just how much the collectibles are worth is a key element in settling a claim.”

A myth with regard to collectibles insurance is that every item in the collection must be itemized and professionally appraised.

“No appraisals are necessary. You estimate the value of your collection and determine the amount of insurance, we need a ballpark figure,” detailed Dan. “Although an inventory is not always required at the time of application to purchase insurance, Collectibles Insurance Services strongly recommends its customers maintain an inventory to streamline, provide proof, and expedite claims in the event of a loss.”

Another myth regarding insuring collectibles is that the cost would be more than people could reasonably afford.

“A collectibles policy is typically less costly than scheduling items on your homeowners insurance,” said Dan. “The price of insurance should not deter a person from insuring their collections, the items are priceless to the hobbyist, or collector and you will find our rates are not overbearing and are cost- efficient. We cover everything from autographs to Zippos or

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It is reassuring to know that purchasing insurance for your collection is not as difficult as one might think it to be. The process is not such a daunting task as it seems and it is also reassuring to know that there are professionals specifically trained in this field and a company that specializes in just this type of insurance.

I found both Dan and Debbie a pleasure to speak with and I am sure that they can help you with your insurance questions and needs

(On a personal note, I am in the process of ascertaining exactly what I have. With over 10,000 records in my collection, it is a slow and tedious task, but, because I know the value of my collectible records, it is imperative that I have documentation to provide this insurance company in case of a problem. I suggest you do the same, and although what you have may not be easily replaced, it is good to have an insurance policy to cover whatever loses you may incur)

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Conclusion and Information

This ebook has, if you pardon the pun, just scratched the surface of the world of record album collecting. Many books have been written about the evolution of the phonograph, records, the artists who made them, the equipment used to play them and collecting in general, but I‟ll wrap it up for now.

I hope you have enjoyed this glimpse into the fascinating world of record collecting and record enthusiasts. I hope you enjoy the “hunt” and wish you many days of fruitful collecting!

If have any questions or concerns, please feel free to email me at [email protected] (put in the title line “E-Book”) and I will get back to you ASAP. I personally answer all emails.

Whatever music you listen to and whatever format, please enjoy it, for that is what it is all about.

Sincerely, Robert Benson www.CollectingVinylRecords.com www.BuyVinylRecords.net www.VinylRecordAppraisals.com

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Links and resources I have found helpful:

Want to get the latest news about vinyl records, vinyl record sales, vinyl record releases? Sign up for “Google Alerts”! Google Alerts are email updates of the latest relevant Google results (web, news, etc.) based on your choice of query or topic. This is a great FREE service and you can add just about any keywords you would like. Have a favorite band? Add their name to your alerts and get the latest news about them delivered right to your email address on a daily basis. Personally, my alerts consist of vinyl records, vinyl record releases, and vinyl record sales. I have found many interesting web sites, blogs and feature stories about vinyl records and suggest you try it; it is very informative and easy to do.

There are hundreds of other informative and interesting sites on the Internet. If you have any you would like to include please email me at [email protected] and I will add them in the next update. Again, I sincerely hope you have enjoyed reading this ebook and feel free to email me with any comments or questions.

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Vinyl Record Sites and Sites of Interest

Folk-Rock web site: http://www.parkrecords.com/

Rock Music Resources: http://www.geocities.com/rockmusic_myownsite/records.html

For the Beatles fan in all of us: http://www.beatlelinks.net/links/

For the Jazz lover‟s, check out: http://www.allaboutjazz.com/

For the latest Punk updates http://www.punknews.org/

For the metal lover‟s http://www.metalunderground.com/

Roadrunner Record‟s Latest http://www.roadrunnerrecords.com/artists/

An online resource that is second to none http://www.vinylrecordscollector.co.uk/index.html

For your listening needs http://www.enjoythemusic.com/

To read about the history of the vinyl record http://en.wikipedia.org/wiki/Gramophone_record#Vinyl

A record playing VW van? http://tinyurl.com/2qctjo

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For an comprehensive look at recording history and discographies and if you need information on specific records or labels, this is a wonderful record collector‟s source http://www.bsnpubs.com/index.html

For a list of collector‟s information: http://tinyurl.com/3y7s54

If you have time and you love the Beatles, check out the “ultimate” Beatles site: http://beatlesnumber9.com/

Another record collector web site: http://tinyurl.com/2u4trk

Metal group reviews and more: http://antipyromaniacs.wetpaint.com/page/Deep+Purple

For an “up-close” look at vinyl records, record wear and more try: http://tinyurl.com/2a3vdp

The next new thing for playing vinyl (I‟ll wait until I can afford it) http://laserturntable.com/

The world's Greatest Classic Rock Memorabilia http://tinyurl.com/yvyd32

Give The Gift Of Music http://tinyurl.com/yve5bl

LP Saver Phono CD Recorder- Play your records and cassettes. Record your albums and cassettes onto a CD. http://tinyurl.com/2m3lbo

Rock & Roll Beverage Coasters http://tinyurl.com/3yxl4m

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Please support our advertisers!

www.forevervinyl.com

www.backtrackrecords.com

Jerry Osborne‟s Vinyl Village- vinyl record forum for collectors! http://www.jerryosborne.com/cgi-bin/Forum/YaBB.pl

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http://www.industrial-silence.com

http://tinyurl.com/58vn9x

http://collectingvinylrecords.musicstack.com

http://tinyurl.com/5alvjg

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http://www.JerryOsborne.com

www.KixSoftware.com Catalog Your Collection With The Best Program You Can Find!

http://tinyurl.com/5tzl4p

www.RockArtPictureShow.com

Thank you so much for reading my ebook and I hope you have enjoyed the content. Watch my website and blog for updates! :O)

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